This social installation exercise, both sculptural and living-mural, resided in a vacant building along a moderately busy street, in Geneva, NY between 2010 and 2014. It utilized found objects, scavenged from a local farm scrap metal pile and other sites around Geneva as well as the conceptual artist’s own collection. The dialectic emphasis of non-site, passive study, was situated to partially study social awareness of the occupant artist, and to examine perceptions upon the changing installation art, often showcased in the window storefront. The work, the artist feels, is akin to the movement “Fluxus” as it is in the deliberate aspect of non-conformist approach of art installation, in a semi public space, while confronting notions of what is acceptable regarding representation of conceptual art or within codified aspects of zoning and community characterizations. The installation was presented somewhat anonymously in relation to the initial mindset of the assemblage construction. The artist candidly defends the work as “streetside whimsy” while perhaps concealing the diagnostic latency of the non-ubiquity of recognizable materials being composed otherwise unsuspected in peculiar installation. The work was also being documented by periodically collecting information from passerby’s volunteered time to discuss various literature which had been part of the installation’s large bookcase. Blogging, and photo documenting were frequently a part of the conceptual art. Coincidentally, one aspect of this show has been published by a curator at School of Visual Arts online portfolio community using photo documented information regarding the piece “Flexibility or the Vacated Space”. Thus, a sociological feedback is also appreciated from this work’s attachment and semi-detachment to the public: as exposed to worldwide online portfolios, travel leisure, digitalization, and geo-capturing thanks to the internet.
JJ Nicholson III, 2017
Discarded aggregate form and sub-symbiotic materiality are not necessarily intended by industry standards, but are gestures on mankind nonetheless. Ambient relationships of form are altered by the transgression of humans on environments. Destroyed, they are once again re-used or reborn as art, and architecture akin to patterns or phenomenological idiosyncrasies. An experiential module is placed at intersections and the users are encouraged to make changes to them as they may see fit. This, in turn, may be neglected or recorded, or relayed, to any chance personal encounter – by subsequent users; and histories of fragmented places are honored – and made purposed by each identifiable salient. De-Ambient mechanisms or deconstructivism is unintended but is the alternate domain of "piece". Mortar and harmony, thorough investigations, simultaneous to the sinuous patterns of crafted time – are everyday philosophical precepts used to seek out a experimental architecture. Disparate transformative agritectural and archicultural conditions (livable permacultures), through the conveyance of the virtual and a non-obtrusive architecture, based from the salvaged and/or neglected spaces between where we "go" and where we grow food - instill hope amidst the disarray... Rhetorically, this designer asks if sustainability is attainable or does it dwell within a solution toward the epitome of the apparatus? Are there ways of using food as architecture, if waste=food? What means can be extrapolated from those often associated with food production, containerization, and commercial landscapes - and infrequent or frequent exchanges to acquire it? In the quest for a primordial zone - the kindred spirit of the acquisition of food accompanies latent architectures, converging in some dystopian formats... The virtual work and possible environments are: Experimental + Conceptual Artist; Architectural Designer + Draftsman; Composer + Writer... For example, using a concept art prototype to define the following in deeper hypotheses: Exploring site spatial application towards societal awareness through subtle or blatant artistic performances. Attempting to generate non-conformist or quasi subversive languages used, within this concept-art. Extracting recognizant themes through assembled applications in recognizable habitual passages of times and meanings when placements are made. Taking concept art forms off-road while minimally masking it from full obscurity.