July 19, 2002: Fun in the studio
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All the walls in Maria's studio were covered with little scraps from magazines, polaroids, and postcards all taped down with clear tape. The painting that made the fateful jump from her window hung unaltered in a place of honor above the couch. She had worked with a new spirit after that night, taking great pains to consider options beyond her immediate scope. She had considered the notion of operating beyond her capibilities many times, but it was as enegmatic as concieving the theoretic void beyond known space. In the same extraordinary way as the convolution of matter and antimater, the problem with trying to move beyond yourself is that you have no idea what to move into, but know that it indeed exists. Art history can be helpful to getting the gears going, but for an artist that's tring to break through into some form of new form, some sort of other type of temporality, what can trigger that fantastic leap from something known to something unknown. She had considered the idea many times, but now, as she felt poised on the edge of knowing what it was, she felt farther from grasping it than ever. She considered that technology could push her work farther, and in some way it already had, many of the materials she was using had been invented and manufactured in the last several years. But when she had talked to a graphic designer friend about the possibilities of digital design, she felt more remote from her materials, and felt the coldness of it innappropriate. She did know more about what she wanted, she wanted to make something which would work both outside of the building but also incorporate itself within the building's architecture. She knew that, like mater and antimater, she wanted to make something which worked as neather outside sculpture nor architectural detail. The thought energized her, She felt that her own enlightenment was close, but where was it? She had been working deleriously now for six months strait. Maybe she needed a vacation. |
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