Nanotations

000001 - BAUHAUS DESAU Gallery Ticket

splace — Mon, 06 Nov 2006 08:00:50 GMT

Found it! After many an anecdote to friends over the last 14 years, I finally found the actual ticket stub. In 1992, during my meanders through the European land mass, I made a lonesome pilgrimage to Walter Groupius' original building, which also was home to the second Bauhaus after it relocated to Desau under third Reich presure. Desau is in what became East Germany after WWII. Seemingly I happened to be the first western curious to go peek at the recently reopened campus and at what was then also the first exhibition in the gallery since –A small retrospective of furniture prototypes. And so I was also the first visitor to see the show :) Unfortunately, before I noticed the folio number on the ticket by the time I emptied my wallet, I had already folded and creased it through the center... I'm not an expert in this kind of numismatics, but I'm sure it must be worth more than the original fee by now... no? I'll post some building pics as I scan the negs shortly... –Fz

My First Critical Mass

splace — Mon, 02 Oct 2006 22:00:55 GMT

Just two weeks into breaking the new bike in, I spontaneously joined the amorphous bike meander 'Critical Mass', which I had heard about and sometimes glimpsed out and about San Francisco streets. On Friday evening, as I was leaving work they happened to be massing just in front of the office... what the heck, join the flock! I feel more at home in the city having joined about 2000 other biking peeps from all walks of life who pedal every last Friday of the month, for a few hours, aimlessly all over the city. The cohesive force being the common biking-as-transportation-alternative experience breeds a cordial congeniality among the strangers who's sheer strength in numbers creates temporary sytemic breakdouwns –at every point and intersection, car traffic flow comes to a stop for a good 20 min. Picture above shows the Stockton Street Tunel at about 9pm.

affect by degree

splace — Sun, 01 Oct 2006 04:24:44 GMT

how tight a hug before we sweat and slide from each other's grip. how slow can we go before reverbs surge from within our spines. how deep can we rise before legs and arms flex and lock as if in mantaray flight. how often can breaths cointerpoit our thoughts with a rush of blood to the head. and still remain intact, one more stranger to the familiar nick of time. Fz.S 2006

$111.11 a perfectly balanced diet

splace — Wed, 20 Sep 2006 17:12:22 GMT

Little did I know that some day, the meticulous scouring of the grocery's isles gathering the right elements to feed my body with just the right balance of nutrition and taste, would reach a point of such perfection... Fz.S

ominously perfect.

splace — Wed, 20 Sep 2006 00:43:16 GMT

been watching numbers around me a bit more intently....

AUTOCHTHONOUS

splace — Thu, 08 Jun 2006 17:25:41 GMT

This mask was found at a sidewalk merchant's setup in Mexico City, circa 1996. The worn-out surface and grundgy patina betray what may very well be the true and colorful tales –as told by the man I bought it from, about the State of Guerrero's own Sierras and magical folklore. As he recounted, the mask is part of a triptych –which he offered to complete if I were interested. The series of masks were presumably used during a ritual up in the mountains, where only men would perform –naked, in a ritual dance, provking the clouds to produce the needed rainfall for a rich and joyfull harvest season. I never saw the rest of the masks and I never could get over the stark and frozen gesticulations of the one I ended up with. Like a shocked sucket, or a surprised bedeviled deity, I also could never get over the hillarious expectative expression of this face. There is nothing serene about it. It definitely awaits more than it thrusts. It gazes, without insinuation and the perfect circumference of its pucker depicts more than a disfunctional smirk. Heck, it is downright styled and full of intent! The mask is a toy. A lubricant to social intercourse. An enabler of alternate social personaes. A tool to make rain come down, on one fertile self. Perhaps it was a flirt and like a cloud I just flew by. Fz.S

Mint Coincidence

splace — Thu, 01 Jun 2006 21:48:17 GMT

A little over 11 years ago I designed a book for which one of the editors requested a pale 'Mint green' cover, completely arbitrary choice. The book was an anthology of fiction and intellectual essays for the graduate deaprtment at my Alma Mater. Aside from a couple of books on my own artwork, I have not designed books for clients since, until this year. Working on a book about 'marketing insights' by a well know NYC personality, we're in the phase of exploration for the cover, the last communication had a request a bit off left field. To make the cover a "plain exotic color, something like 'celidan'." Not being one to refer to colors by names, I confess I had to go to the diccionary to get a 'visual' idea of what that term could be reffering to: "cel·a·don n. A pale to very pale green. A type of pottery having a pale green glaze, originally produced in China." Exactly the green shade we chosse 11 years ago... I think I might suggest the chocolate brown shade we used on the cover's type treatment for the first book, just to nail it down.

LOVE CURRENCY BUD

splace — Sat, 27 May 2006 23:59:43 GMT

Didn't you know people hide love like a flower too precious to be picked? –Wu Ti series: http://artatsplace.blogspot.com/2006/05/love-currency-bud.html

A BOOK WITHIN A BOOK: "DEAR DIARY"

splace — Tue, 23 May 2006 05:59:28 GMT

A BOOK WITHIN A BOOK: During spring 2006 I took part in RENDEL+SPITZ's exhibition at the "narrowest building in Cologne" (Germany), a.k.a. 'the gap' by contributing my copy of the 'black' book. The project, "Dear Diary" is an epistolic set-up, whereby 100 of their friends were sent, in 2005, "The Unfilled Gap," a blank, black book. Unexpectedly, over the course of a year most of the friends made annotations in the book. Thus was spun the 'pink' book in the series, which is a reflection on the palimpsest –or blank slate, with the infinite interpretative space within. "Dear Diary" not only 'fills a gap' in their color-coded book collection, but it introduces one loop of note, a cycle, to the 'unfilled' gap-as-abyss and latent creative continuum. "Following four Exhibitions (2001 to 2004) in Cologne's narrowest building, Rendel & Spitz decided to suspend their creativity in 2005. The series of books published to accompany the exhibitions was however to continue. The result being a book with white pages to document an exhibition which did not take place. It was sent out to friends and associates as a token of consolidation. One of the recipients asked whether he should fill the book and send it back. We were delighted to adopt that idea, and asked everyone who received a copy to lend us their book for the next exhibition in January of 2006. The upshot is a possible answer to the simple question of what happens to 100 empty books in the course of a year." –R+S http://platzgeist.blogspot.com/2006/05/book-within-book-dear-diary.html

CIRCLES OF PROFUSION

splace — Fri, 19 May 2006 15:35:45 GMT

OUROBOROS and CAPILLARI Colures It is a common, fashionable gesture to wear decorations on the wrists. Yet, these typically circular objects we mostly give for granted, save for their aesthetic appearance, can sometimes be loaded with thick meaning, no matter how clear they are. 'Colures' (genus CAPILLARI) happen to have a colorful pedigree from the realm of mythical symbology. Ancient cultures, from the Greek, to the Chinese, to the Mayan, all observed powerful meaning in the circular gesture of a snake chasing it's tail. The Ouroboros as archetype originated in Egypt, as a symbol of the sun, and represented the travels of the sun disk, it signified 'eternity' and the soul of the world. The word is Greek for "tail swallower." It is a snake swallowing its tail, usually circular. In other cultures it also meant continuous renewal, ‘life force,' 'instinct,’ ‘kundalini,' even assimilation of the opposite. Capillari Colures where not originally conceived as serpentine symbols, however, we embrace the potential meaning they evoke as an allegory of such charged mythology. The head and tail of Colures are 'magnets', which in deed attract as opposites. The piercing stainless steel studs do seem like the feathers of the Mayan –sepent/God, Kukulkán, and the internal moving steel parts are definitely evocative of Kundalini's chakras, life, and surging energy. http://www.splace.net/gallery/2006/02/capillari-coluresg.html

MULTIPLICITIES: "Cloud Reflections_1" The Photomorphic Paintings.

splace — Tue, 16 May 2006 09:29:31 GMT

Thousands of plastic bits in 10 different colors were mixed as an aggregate. Progressively, one color was subtracted from the whole, bit by bit. This painterly process (duration) was photographed at key intervals (moments) reflecting the shifting dominance of each color in respect to the remaining others. This artwork being a series, reflects on Henri Bergson's concept of 'multiplicities' by recording both 'moments' and 'duration' in a continuum. The resulting memory imprints highlight the relation between 'time' –whereas each frame (moment) is qualitatively different (heterogeneous) from the next and 'space,' where as all the bits are basically the same object regardless of color and their transforming arrangement over time. "Cloud Reflections_1" is the first iteration in this series of studies, each of which focuses on a particular 'modifier' in the process of color bit subtraction. The modifier 'reflection' is particular to this series as it introduces a transparent, yet reflective divider, into the color segmentation while becoming a key element in the composition of each frame. Archival prints on German Hahnemuhle (photo cotton-rag 308) paper, are now available through the SPLACE/LAB online gallery, in two sizes. For more information please visit the link bellow. http://artatsplace.blogspot.com/

MEN, THEORY, and PHOTO GRAPHS

splace — Mon, 08 May 2006 08:37:52 GMT

From an on going series on the use of theory, coincidence, and literature in art-making process. "We must die as egos and be born again in the swarm, not separate and self-hypnotized, but individual and related." –Henry Miller, 'Sexus' www.schnaas.com/SxThPhp It was Stephen Prina's after-art-opening dinner at Botinno in NYC. Sitting right across from me was Lynne Tillman ("No Lease On Life") talking to Barbara Kruger –whom I had met through Steve in Los Angeles. The conversation with Lynne revolved around current projects. Sharing the project of book+men images, Lynn mentioned a book she felt I must look up. It was a version of the 'Illuminations' poetry series by Arthur Rimbaud, the one with the "captivating face of a boy on its cover." Having made a loose note on the fact, I continued my NYC stay with the planned museum visits, one of which was the Whitney and not knowing what the current show was, I simply embarked on a chance enlightenment pilgrimage. The main exhibition featured artwork by a single artist who had over the years, produced endless amounts of 'mail art' and all sorts of writing, print, stamp and cartoon-ish formats, which he then mailed among his broad network. The curators managed to compile and impressive amount of these dispersed postal art spores. The artist was Ray Johnson. The show was exhaustive –and exhausting. Towards the end, thinking mainly of food, I walked through the last room which was sparse, compared to the previous others. Two glass vitrine tables held a different artwork format than the rest of the exhibit: books. One in particular caught my attention. On the cover, in what seemed like an over-exposed photo copy, it had a black and white rendition of the face of a young man, with the sort of profound, pensive gaze that will inevitably arrest my photographic attention. Underneath, scribbled in a strange calligraphic font was the title: "Illuminations" by Arthur Rimbaud. It took about 30 seconds to go from the recognition of those fascinating facial features and wondering whether the book could still be in print, to realizing that that was the book Lynne was talking about just the night before over dinner. A rush of blood went to my head. I had to get the book as soon as possible. Upon researching, I found that not only was the book out of print, the catalogue for the exhibition was being published late. It took three months to get a hold of a copy, all the while keeping the faint memory of the Illuminations book cover clinging to my mind, like that of the face of some enigmatic man one meets or sees in public but whom one is bound to never encounter again. Much like a "Double Life of Veronique" sort of split-second recognition, the dramatic film by Krzysztof Kieslowski where Veronique sees, from a moving student tour bus, though her camera lens, her double self being whisked away by the riot police at a plaza in Poland during the 1960's student revolts. For a whole year, like Veronique's small contact-sheet print of the film frame she captured of her double, I held to the small picture inside the exhibition's catalogue, until the new edition of the 'Illuminations' book was republished, fortunately with Ray Johnson's cover design, once again. That year, during yoga sessions at Crunch in Los Angeles, I met Bob (a.k.a. StepGod, then trainer to the stars, and most popular spinning instructor) who would, for months, do formidable 'down-ward dogs' in the mat immediately in front of mine. The intricate Tattoo on his right arm had always fascinated me, as had his gaze. He agreed to do a photo shoot. By then the Illuminations book had found its way to my studio and I had also made the connection between the music in a CD my friend Maryam gave to me a few years back: Hector Zazu's "Sahara Blue,' a compilation of commissioned arrangements written to Rimbaud's poetry from "Illuminations." I had Bob read from 'Phrases' the poem-turned-lyrics which opens 'Sahara Blue' and has ever since, ignited my mind and ceased my heart. And we shot. "When we are very strong, –who draws back? very gay, –who cares for ridicule? When we are very bad, –what would they do with us? Deck yourself, dance, laugh. I Could never throw Love out the window. ...I have stretched ropes from steeple to steeple; garlands from window to window; golden chains from star to star, and I dance." –A.R. Fz.S

Healing Snake

splace — Thu, 04 May 2006 08:07:29 GMT

synchronous events Last week I was approached by old colleagues to collaborate on a pitch for branding the ad campaign of a hybrid car. What an awesome opportunity to apply all the research and readings I have been doing lately! The subject matter and the Zeitgeist are realy coming together on this one and I having “logo-rrhea' and “picto-rrhea” and fresh ideas… additionally with Al Gore appearing on all mediums on the subgect of the environment –NYTimes, WIRED, his film, etc. The Oil crisis, researching all the Green sites and publications which have been sprouting right and left, it's a bit overwhelming… but I think I have been distilling a good set of concepts in order to put out there simple but potent messages of a new conciousness of healing and balance, ulterior to the comercial imperative. The idea of our civilization's anima as an aspect to be re-accessed and embraced, the feminine side of the socio-economic system, the emotional, compasionate, human side of business, it's socializing and nurturing potential. The surrendering of patriarchies, the resusitation of long forgotten of missapplied archetypes, put to a better symbolic use. Recognizing the relevance of eastern philosophies and values, as well as those of native cultures which have had a more profound connection to nature and community. I though of *Koyaaniskatsi*, the Hopi word meaning “Life morally corrupt and in turmoil,” and the eponimous film from 1983. I though of symbols of healing and rebirth, such as the snake and its representation in almost every ancient culture. It is Good and Evil, anima and Kundalini. It represents dynamized energy and positive spirit… In greek and Egiptian culture there is the 'caduceus' (the intertwined fighting snakes the Greek God Hermés separated and which came to symbolize peace), or the 'uroboros' (a snake swallowing it's own tail) a symbol for integration and assimilation of the opposite (it is said of the uroboros "that he slays himself and brings himself to life, fertilizes himself and gives birth to himself"). And I though of how how Christianity turned yhis potent symbol into a sign for pure evil, when in fact snakes always stood for knowledge and the harbinger of potentiality and protection. what a great ambasador of nature! I grew up with snakes. Large and short ones . Green and red ones , Desert and water ones… I always was mystified by their stealthy personality. Nothing seemed to pertub their reptilian swagger, their pearcing gaze… until it was that time of the year when they shed their skin. They would turn anxious, nervous, and agitated, irritable until their epidermis detached from the underskin and they started the process of rubbing against the rocks, so the dead skin would catch and they'd emerge from it shinny and radiant, peaceful like a Buddha, docile like a lamb, focused and mindful. I feel I have recently shed my own skin. The last two years where of such turmoil and slowly I begin to feel the sheen of a new skin, the lucidity and mindfulness that nurture inspiration. Turns out I was born on the Chinese calendar's year of the 'wood snake'…. go figure.. I guess I'm biased! This image I found online, is taken in the town of Cocullo outside Naples where snakes are center figures in a yearly procession which takes place, coincidentaly, on the first thursday of May (Today!) . –Image by © Giancarlo Pradelli/Corbis peace, Fz.S

Cool For Hire

splace — Wed, 26 Apr 2006 01:21:14 GMT

talking about art whores... last week on my walk back from yoga –and having pretty much metabolized all of my oatmeal cookie, I passed through Hayes Valley. The space where the old supermarket used to be is now an alternative space, home to a slew of sprouting artistic expressions, sometimes a bit trantrumy but energetic and most moderately 'cool'. That evening the place was teeming with a particular demographic I could not put my thumb on... so decided to crash the event. The slickly dressed peeps, all in quasi-skater attire, swarmed the exhibition of some local street art illustrator types showing their goods on half the space. The other half, cleverly concealed the magnet. A huge wall partition was sturdily built with 4x6's and plywood sheet, cut-out at intervals were little square holes with glass cases. These little vitrines had parts of automobiles. At closer rage I noticed the parts were actually brand new. The objects on the shelves next to them were also brand new and not the sort of found-object I presumed them to be. Soon I made the connection: These were discrete, fetishized parts of the actual automobile which had been placed in the center of the room, a brand new Zion monster painted in smaking purple. Behind these partitions was a fallange of small computer screens beaming ad clips and video snips with 'lifestyle' sequences, in a room people could mingle and sit on actual car seats. When I glanced up above the head of the lady who offered me 'catered' wings of chicken, I spotted a Zion logo, neatly placed high at the back end of the space. Soon I identified a bunch of servers putting mini burgers and chocolate schickles in everyone's face. The entry to the place was controlled like a club. ID checks and a host table with sign in books and a couple of dolly hipster chicks. At one point some of the skater dudes who actually had skateboards, started some kind of spontaneous routine in the center of the space, right next to the gleaming auto!... nothing impressive tho, until he fell and the skate board went dashing straight to the cars back door, effectively popping off the detail above the licence plate holder. Immediately a couple of sharply dressed young, good looking, clean-shaven men rushed to try to repair the damage and sneered at the perpetrator... I imagined they must be the the PR team that brilliantly though that Zion CAN in fact be cool by virtue of throwing hip (art) parties where they can muck the art itself –by outshining it with their client's product, and sneer at its scruffy expressionism, while gaining some exposure millage. I couldn't confirm this, so I took a few more grapes and crashed my neighbors loft where DJ friends from Amsterdam spun to a not-as-cool but genuine croud, still can't figure why no venues in town play this kind of edgy stuff yet. Maybe Zion would write a check for this in the future, but then, we'd have to swallow their idea of fetish and that of being cool.

No Fake Swan

splace — Wed, 19 Apr 2006 19:02:12 GMT

Thusday I was touched by a beautiful Swan from the play "Swan Lake" whom I met in SF. Over the weekend visited friends in Sta. Barbara who share a large pond witht he Abercrombie mansion... Once again, Swans and I shared peaceful solitude and the dance that it takes being a swan made me reflect on the beasts' character Rilke was so enthrawled by.

Something to Appreciate

splace — Fri, 07 Apr 2006 07:31:41 GMT

I once bid on 'nothing' on eBay, some conceptual artist was actually putting 'nothing' for auction. Brilliant! I thought.There was a complete description of 'nothingness' and a disclaimer clarifying what one would actualy get in return for the money as the highest bidder: absolutely 'nothing'. ...but some suburban house-wife, I'm sure, reported it and the auction got cancelled... oh well, she ovbiously did not get it! ...but in the end, I still got 'nothing' for nothing... Fz.S

Les Coils Du Mal

splace — Mon, 03 Apr 2006 04:24:49 GMT

It's Soul. It's whatness that unravels from the vestment of a vision. It's organized, composed structure. It's integral thing. This soul of an Ice-Coil, the structure of which is adjustable and radiant. It's epiphany. It's love, reflection and light. –Fz.S COIL FACTOR Is it just us, or does the stretch of your persona exist in inverse proportion to the flexibility of your neck wear? But what if you could have your coils and wear them, too? It’s not just a stretch of the imagination assuming you’re decked out with the new Fz.S 'Interval' ICE-COILs. Lace the elastic, transparent glass coils around your neck, clasp the magnetic ends and you are set! Seriously. The coils are hand-crafted to order, created by a an 'inter-notional' catalyst and proto-Linguist/Designer (apparently it took languistic structuralism) who put the 'stretch' in the stiffness of Czech glass. Meaning for once, your allure can be as expansive as your mystique. Splace People http://www.splace.net

SPLACE = Platzgeist

splace — Thu, 09 Feb 2006 23:31:36 GMT

Platzgeist = SPLACE (ambiguity between 'place' and 'space' –which I detect in the specific use of the word 'platz') and 'geist' the 'sense' of something (spirit, soul, ghost). So the 'sense of place' in space is 'splace'. http://platzgeist.blogspot.com/ Auf deutsch: Platzgeist = SPLACE (Mehrdeutigkeit zwischen ' Platz ' und ' Raum ' - die ich im spezifischen Gebrauch von dem Wort ' platz ' ermittele) und ' geist ' die ' Richtung ' von etwas (Geist, Seele, Geist). So ist die ' Richtung des Platzes ' im Raum ' splace ' translation courtesy of : e!7 (http://people.tribe.net/evf)

The 'i'nstatnt's Scroll

splace — Mon, 07 Nov 2005 07:48:38 GMT

“Man is a being of distances, a restless energy, whose poles are the futurity of her project, the freedom of the instant, the world, and other persons.” __Martin Heidegger http://www.splace.net/ScrollViews This 9’ scroll was type-set in wood and lead type, and then letterpressed on stark white Japanese cotton-fiber paper, in 1994 as a limited edition of 14 scrolls. The format cellebrates the recent discovery back then, of the original Dead Sea Scrolls near the border of Jordan and Israel, but it also has the spirit and innertia of an ambitious project such as was Jack Kerouack’s own endless piece of paper on which he type-wrote his classic novel “On The Road”. Scrolls have always been a source of intreague as a format and as the perfect metaphor for chronology or linear narrativity. By way of influences from the 1960’s minimalist and experimental music realms, artists such as: Steve Reich, Meredith Munk, John Cage, et.al., the piece also references a pianola scroll with its seemingly random yet programatic array of punched holes, only this is type. ‘i’ scroll unravels with an acrobatic arrangement of words an letters, the prior commenting on the acts of ‘creating’ and ‘existing’ in-the-world, the former mimic the gutural sounds of Meredith Munk’s noise works and are arranged as a random system, a tip-of-the-hat to John Cage’s ‘chance’ compositions—having been set with all the available lead type of a font’s drawer, a commentary on the finite character of ‘old-school’ typeseting in the wake of the recent integration of the computer as a more dynamic typesetting tool, where actual letters can be typed at infinitum. The chance availability of the lead type dictated the composition. The horizontal thrust of the piece evokes the chronologic notion implicit in Heidegger’s quote, which runs as a single line along the distance of the scroll (life/existance), the quote is set in Bouer Bodoni type , in contrast with the rest of the piece’s compositional elements (words), which are set in a variety of styles from the original Grothesque family (lead and wood type). The word ‘Man’ is the very first word in the long composition and one of the only two elements to be printed in red ink. The other red element is one letter ‘i’ which is at the other ‘end’ of the scroll, alone, and laying on it’s side. The color connection closes the connotation that ‘i’ is the ‘ego’ of ‘Man’. The rest of the composition aludes to a ‘trajectory’ full of quetions and dilemas possed at contrapunctual relations to the creative ‘acts’ or ‘stages’ (‘instants’) in every one of the composition’s (life’s) segments. Bodoni is a modernist conversion of the classic serif fonts, characterized by its square serif endings and sweeping parallel lines. These Grothesque font families are emblematic of the origins of the more simplified, modernist sans-serif typestyles.

Nice Features: Glamorous Science

splace — Tue, 25 Oct 2005 11:26:25 GMT

Today I sent my first flagrantly self-promotional email campaign... good response so far to Chris' funky pose in the add... Mocoloco.com decided to feature the rings right away :) check it out http://www.mocoloco.com I'm a happy flyer.

INTERMITTENT INTERSTICES

splace — Mon, 03 Oct 2005 20:38:01 GMT

INTERMITTENT INTERSTICES A contribution the the Rendel and Spitz Gallery Show in K?ln Germany: "The modified Book of the Unfilled Gap" A physical gap is to be filled with matter or its allusion thereof, by evoking ideas projectable as content or narrative. The opening of the book is annotated with a few scribbled signs and words evoking the question: What is then the content? It draws attention at the altered book's change in form. Bigger and Better? They mimic similar urban scribbles recorded inside the visual narratives of the new added content. 'Interstices' explores the spacio-temporal implications of a fillable gap, the space in between, the elapse able time, an interstice is as much an expandable form as it is a moment or a series of events overlapping during the course of the narrative's transcurrence. A roving hither and thither in simultaneous layers. The sequences represented are moments of fixation registering the paths of pedestrians' meanders within the cityscape and the changing arrangements of a single location. Throughout the book, at intervals, there are punctuating visions, snapped moments of ulterior places, visions, each with its own gestalt potential, layered representations of another time and separate spaces. A reflection of the present time and place layers over the representation of a time and place bygone, in a spread of the book, the narrative of a Fellini film, filters through a reflective window pane. The content then, is the gap between layered moments. Ethereal and elusive. Not unlike memory itself. franz

RE_COILED

splace — Thu, 07 Jul 2005 04:53:51 GMT

Oce on, ICE_COILs take a character of their own... following feedback from friends, I decided to embark on a freely choreographed documentation of Body Furniture on some of my friends... so here is the first installment... thanks to ADAM for his gleeming personality, patience and dexterous deployment of expressive body angles :-) http://www.splace.net/ADAM

ICE-COILS ™

splace — Sat, 18 Jun 2005 00:53:37 GMT

ICE_COILS ™ INSPIRATION: Some ideas originate from an interest in language, specifically in the playfulness of its ambiguities. Being exposed to digital design processes, where surreal notions such as 'transparent wood' are all too possible, I once stumbled upon the pairing of two seemingly antithetical words: 'elastic glass'. In the quest to articulate such oxymoronic notion, the structural concept for ICE-COILS™ was spun. ORIGIN OF THE NAME: POI or Fire-spinning is a prevalent vernacular practice within a tight underground network of creative groups in the bay area. Long exposure photography has captured the instant imprints of the elusive and ephemeral forms produced by these performances. POI spinning produces highly energized strokes. The circular nature of these motions, an endless array of spiral gestures, have influenced the forms in my work. When the images of these performances are inverted to their opposite colors, the results are reminiscent of japanese ink and brush drawings. The opposite of fire is ice, hence the ICE-COILS™. I like the idea of making them wearable, glass pixels and a malleable core make it possible. http://www.splace.net