decorative

in the wake of disturbed cobwebs and dust,

decoration, he says. but i mean that non-pejoratively.

i see, i say, okay. and start blabbing and leaking all over the place

now i'm aaall run out

WHHHHHHATTTTTHEEFFUCKKK.MYLIFE.

why, clouds of course!! tetsu kondo

tetsu kondo, architect, made clouds at the 2010 Venice architecture biennale.

www.huhmagazazine.co.uk

for me, there is a sense of straight-forward innnocence and simplicity behind the piece. clouds are magical. let's make 'em. to physically manifest this, however, under the restrictions of reality and within a contained space that allows for audience interaction, is not necessarily simple. with the consultation of transsolar, german engineers, they created three different layers of air are created for such phenomena to form: one area of cool dry air at the bottom, hot humid air in the middle to create the clouds, and hot and dry air at the top to contain the clouds. wonderful.


another series of kondo's is "mirror." also, artfully simple. and yet, rather stunning.




















www.tetsukondo.co.jp



i'm supposed to be writing a paper right now.. >>

cai hongshuo's xray prints and dead birds

WUYONG - inutile

a designer i have been following for a while now, but haven't posted anything about!! her fabrications are just so rich in texture and form..

Breathing into the canyon

friends and family,
i am very excited and honored to invite you to my first solo show EVER at Fort Gondo on 3151 Cherokee street. September 18 · 6:00pm - 10:00pm


as a part of my summer research project this summer, Breathing into the canyon is a compilation of photographic, video, sound, and installative work that draws attention back to the obvious: the basic human experience of inhabiting a body, fulfilling a space, and the forgettable sensation of simply... existing.



"The practice of acupuncture is part of a 5,000-year-old medical practice. Through inserting needles in select points in the body, it promotes a sense of consciousness; the experience of it is therapeutic and relaxing, but also invigorating and clarifying.

My work has to do with physical and mental consciousness. Even in the dark, barely illuminated by bars of hazy light, the body and mind still maintain awareness. The body breathes into itself, and simultaneously, out into the world as well, like a semi-permeable membrane that is both open and closed, ever expanding, ever contracting. The body becomes a landscape of undulating curves, deep cavities and swelling muscles. The illuminated acupuncture needles mark the form and create pathways across a mysterious territory.

Breathing into the canyon is an exploration of space, form, and light. It obscures the resistance between the external and the internal, humans and nature, the body and the cosmos."




refreshments will be provided!


**IMPORTANT
if you are unable to make it to the opening, the show will be available till the end of the month, but will be by appointment only

oops, i slipped

i don't know if this will make any sense, but sometimes i'll be thinking about something, and i swear, i forget where the hell i am. and then when i re-find myself somewhere, i don't even believe it.

there's a landscape of living. like, a mental orientation. we build stuff all along the horizon line, cities, or, i don't know, what have you. whatever you want, son. there's a way in which we understand things, and then there are people around us, also building their own city, and we let their place sprawl into ours because, well, maybe we're using the same materials, but there are other reasons too. then, you make yourself to be a giant robot, when there's just this fleshy little guy at the middle of the whole thing. but sooner or later you're just gonna get lost.

i don't really believe in this 'landscape of living.' there's just something not right about it. i might spend my whole life making things and tearing them down. cuz i think at the end of it, there's nothing that i really want. and that's the truth.

birthday

21 years..


..gonna get enlightened and blow this joint.

a mention in the RFT!!

"... Also showing: Regarding Place, a group exhibition of area art juried by Jana Harper, which includes work in a wide range of media that explores the notion of place. Highlights include pencil drawings of daily receipts by Joseph Lupo, charcoal and ink drawings by Mary Lamboly, paintings of domestic interiors by John Sarra, light drawings (photographs) by John Early and a video of passing traffic, distilled to a wash of colored lights, by Felicia Chen.

Through August 20 at the St. Louis Artists' Guild and Galleries, 2 Oak Knoll Park, Clayton; 314-727-6266; Hours: noon-4 p.m. Tue.-Sun."

solid light

anthony mccall -

"between you and i"

Vertical solid light installation, 32-minute cycle in two parts
Computer, QuickTime movie file, two video projectors, two haze machines

"sexual intercourse is not intrinsically banal"

“Sexual intercourse is not intrinsically banal, though pop-culture magazines like Cosmopolitan suggest that it is. It is intense, often desperate. The internal landscape is violent upheaval, a wild and ultimately cruel disregard of human individuality, a brazen, high-strung wanting that is absolute and imperishable, not attached to personality, no respecter of boundaries. It ends not in sexual climax but in a human tragedy of failed relationships, vengeful bitterness in an aftermath of sexual heat, personality corroded by too much endurance of undesired, habitual intercourse, conflict, a wearing away of vitality in the numbness finally of habit or compulsion or the loneliness of separation. The experience of fucking changes people, so that they are often lost to each other and slowly they are lost to human hope.

The pain of having been exposed, so naked, leads to hiding, self-protection, building barricades, emotional and physical alienation or violent retaliation against anyone who gets too close…”

- Andrea Dworkin, Intercourse

iris nesher "sexual intercourse is not intrinsically banal", c print

This isn't really what the show will be about, but this was a certain passage and print combination that I found particularly entrancing. It isn't really my place to post any of the other writings, but I figured it wouldn't hurt to give a little taste of what the next show at the gallery I work for, Bruno David Gallery, will be like. Opening will be on September 10.

http://brunodavidgallery.com/artistDetail.cfm?id_artist=119&n=Iris+Nesher

stars and mountains

on body

here's a story about me: i learned to walk on my first birthday.

my cousin said that it was as though i woke up and decided, yep this is the day guys. i got up and fell relentlessly, determined face plant after face plant, until my parents probably thought i was retarded. finally, i got up walking and truthfully, i've been walking and falling ever since.

in between middle school and high school, i gave myself the nickname of 'fel'. as in, i fell, but that's in the past. i fell, but i always get back up. i fell, but never again.

that was not true. perhaps it should have been, 'fell, fall, will fall'. but this is how i stumble through. there has been conversation lately about my insecurities, my lack of confidence in myself, but i disagree; i feel that i intimately know my weaknesses, and am aware of my strengths. afterall, we're the masters of our own destruction, and when that day comes, i would like to be able to assess how i reached that point.

maybe my circulation is bad, but whenever i get hurt, the scar does not fade easily. being a sculpture major is not necessarily good for my clumsiness either. i've cut myself on band saws, burned my fingers several times, cut myself on table edges and assortment of blades. i have little marks all over my arms, legs, and face even, like constellations,

like drawings.

i throw myself through sand and waves. my body burnished with mistakes, polished. it may not be pretty, but i wouldn't know how else to be. so, friends, stop challenging my scars. don't look down on me when i fall. i treasure my hard-earned patina. and you'd be foolish to feel sorry for me. watch me, and you'll see.

also, some names to remember,

Hsieh Teh Ching

Cai Guo Qiang

Krzysztof Wodiczko

a show!

"Regarding Place"

opening reception, june 25, 6-8

through august 20

@ St. Louis Artist's Guild, 2 Oak Knoll Park

(right off of Big Bend on your right when driving from main campus)

my first juried show, so please come

let's get rich..

and give everybody nice sweaters
and teach them how to dance

missin the days on the railroad tracks

newish old art

i haven't posted any work yet, so i think i might!

from the video installation "Untitled":

"Because I can't be Beautiful" hair drawings: (disclaimer: god, i really don't mean it to look or sound so self indulgent. it really isn't as emo/psycho as it seems....?!)

Miscellaneous work:

circuitry for my mini elevators, just sitting in my lap :>

studio shot

u-city proposal model

doodle.sketch.drawing. as way of mining for material

YAP! most of this work was done last semester. i'll have shots of more current stuff soon~

exhaust.ed

felicia is. lacking clarity

and much much too much sleep deprived and worn out. sleeping on pink insulation foam and in warehouses with people literally hammering holes in walls is quite.. laborious. and then i ask, why. oh why do i do this to myelf? to be angry all the time, to labor so much for something that can't be touched, that is going to simply be deinstalled and disappear forever, that can only be completed by the viewer's presence, and dissipated the moment he/she blinks. whywhywhywhywhywhywhywhy do i do this..!!!!!

i'll stop my bitching later.

bondir sur les pieds !

http://fc08.deviantart.net/fs14/f/2007/115/3/5/Herbal_parkour_by_Tofan.jpg

ps. sculpture show.

"constructing belief"

February 19, 2010
7-11 pm
6646 Vernon Ave
University City, MO, 63130

light is white

when both the sky and the earth are so so so white like that, i feel like everything i know of this world, everything that constructs me, is like this small grain of sand, rolled in between god's, or whoever's, thumb and index finger. and then the sunlight pours in through this giant pitcher, and everything becomes so bright I have to squint.

we spent the whole day painting everything white. spackled the holes and the crevices in the walls, sanded them down, and put on coats of paint (called the official "WashU White"). the whole process was meditative but also bizarrely frustrating; you become immersed in this world of white and off-white and paint fumes, and the subtle differences in the original white of the wall in contrast to the white of the paint, becomes magnified and so sorely unmatched, it makes me cringe a little bit. and then there are the parts with shadow, and i become confused as to what parts are painted and unpainted. a little bit like, trying to wash the feeling of skin off your hands.

the installation piece is weighing heavily down on me. i can physically feel my brain sitting inside my skull. see, in my mind, everything always looks perfect and beautiful and eloquent and relevant.. and just wonderful... and then as i bring it out into the world of substance, it loses a certain.. gasp of air? you know what i mean?


FIONA TAN
she's one of those artists whose work makes me feel like, damnit! if you gave me a couple of years i was gonna do that too. :P



BBBBBBBBAAAAAAAAHHHHHH!!!!!!!!!!

away away away!

the deep, dark caves in my shoulders hum with static. creeping up my neck to behind my ears. and my head just wants to disembark and float away like some balloon into the galaxies. but it doesn't, and instead falls forward into its hinges, the weight of my lashes pulling me down. wearing me down. shutting down.

i think i'd rather be away these days. i miss the train.

SIGHS

so i still keep in touch with my old babysitter from when i was still puny. she's pretty cool; lives in new york, has a cool job, has a baby who she calls "bean"..

Agatha
fe?!
Felicia
HEY AGATHA!
Agatha
hi sweetie!
what are you up to?!
i love keeping up with you on facebook!
Felicia
hahaha yeah?
um not much,
i just finished the lunar new year festival performance last weekend
Agatha
im def procrastinating right now
sounds like a good time
are you still finishing your undergrad?
Felicia
yeah im a junior
Agatha
im working on a project with a band called honor society
do you know them?
never leave college!
Felicia
I KNOW I DONT WANT TO
Agatha
omg! work is so not worth it! lol!
Felicia
real world seems to suck
Agatha
thats an understatment
Felicia
damnit
Agatha
sorry
Felicia
.. sigh
Agatha
zero glamour
underpaid
overworked
no appreciation
oh! the best part...all the stupid people
lol



SIGH.

empathy in design

it's always great to discover art (the kind with a capital A) directly functioning in the world. although i'm not exactly sure how developers could actually go about designing products that require empathy and patience from the consumer while still maintaining a profit, but i suppose it starts with perspective and the right intention. in many senses, i often keep my audience in mind when i am creating work, whether or not they have an appreciation or association with the arts, which leads me to question a lot of things.. i suppose i forget that there's only so much i can do. to provide perspective or to change their minds is something I look to do, rather than to expect. there's only so much i can control.

anyways!

"Developed world consumer desires relentlesslygrow and flex, while material possessions remain hopelessly froen in time. This incapacity for mutual evolution renders most products incapable of sustaining a durable relationship with users... For centuries, the art world has been implicitely aware of the need for mutual evolution between the consumer and the consumed. Artistic expressions from traditional oil paintings to avant-garde installations are conceived as contemplative works, rarely surrendering all their meaning at a single glance. This is enabled by the presence not simply of meaning, but of layers of meaning that continually tantalize the onlooker to provide a lifetime of incremental revelations. In 1912, German psychologist Theodor Lipps propounded the theory that the appreciation of a work of art depended upon the capacity of the spectator to project his personality into the object of contemplation. Lipps claimed that 'one had to feel oneself into it'. He named this cybernetic process Einfuhlung, which tranlsates as 'empathy'. In their current guise, consumer products lack the sophistication and layered complexity for this degree of long-term empathy to incubate. Most consumer products relinquish their tenuous meaning to a single fleeting glance, while rarely delivering any of the life-altering rewards they so confidently promise. In this respect, waste is nothing more than symptomatic of a failed user/object relationship, where insufficient empathy led to the perfunctory dumping of one by the other."

from "Emotionally Durable Design: Objects, Experiences, and Empathy" Jonathon Chapman

oooohhohoho

hahaha, oh felicia.
you are a rare breed indeed.



*pretends to be a dinosaur and runs away*

my window blinds

alright, i've thought, here's what i'm saying: one of the slats in my venetian blinds is missing.

cars drive by from outside, and their headlights fall through this opening and draw lines across my walls. slow dashes and flicks. like the waves of the ocean near my home. left to right and then gone. left to right and then gone. left to right and then..

within that particular suburban twilight, a seething sense of mystery and adventure whispered. a thrill, that i have never felt before, unfurled in my chest. a beguiling secret held in my hands. uncertain, trepid, exciting. but mostly, fearful of a belief that may

or may not be

what i think




but nevertheless, i shake my head, you see, that slat is not missing, it is creating. like, how the void in an empty glass births a potential unknown to one that is full. how an idea will always be so much greater than reality. how, a heart can fly to incredible heights and distances while the physical body cannot. how, the ability to find infinity within a tear in a piece of paper becomes so liberating, how, what is not there, becomes what matters the most, how, the empty space in a living room can leave a girl like me breathless, how,

how, despite my faithlessness in love, a romance through a myth as bold as this can leave a girl like me breathless.

a hyperopic camera: both artifact and novelty!!

my friend just referred me to Good Magazine, where i found this pretty cool article:

http://www.good.is/post/the-century-camera/







The Century Camera
The Slow Issue > Jonathon Keats on January 21, 2010 at 9:30 am PST

See what develops over the next 100 years.


The Century Camera appears in GOOD Issue 18, which is on newsstands now. While you can try printing your pinhole camera at home on a color inkjet or laser printer—make sure you print it double-sided, as you need both sides to make it work—the thicker ink of a printing press will probably give you better results over the next century or so. We recommend you go pick up a copy of GOOD Issue 18: The Slow Issue. But, if you want to give it a go, here's a PDF version of the page from the magazine.

As you flip to the next page, rip it out. Cut, prick, fold, glue. You’ve just constructed a pinhole camera that will take a single picture with a 100-year-long exposure. Since you’ll need to fix the camera in the same position until 2110, find a place that matters to you enough to document the next century of change (it will still work if you move it, the image will just be more abstract). It doesn’t have to be an endangered rainforest. It could be your own neighborhood.

This camera is a simple instrument. The pinhole lets in a little light each day, focusing it on the black ink at the back of the box. The ink will gradually fade as light streams into the camera, preserving a unique positive print of the illuminated landscape. Nothing fast-paced will be captured—neither people nor machines—but transformations over decades will register as shades of ghostly gray, and whatever remains constant will look as sharp as it would in an instantaneous snapshot.

You may not be around to see the results of your work. But if your children watch over it and protect it from the elements, and if your camera weathers the next hundred years, then your grandchildren will receive a revealing inheritance. What’s more, the following generation of GOOD readers will have the opportunity to view the image you’ve made in a special folio that the editors have committed to printing in 2110.

In the meantime, you may come across cameras set up by other readers. They might be encountered anywhere, or rest unobserved for the whole hundred years, thousands of black-box time capsules collectively witnessing our world in transition.

the body

let's think about the body as a container

like a jar?

like a house

and the organs and muscles as flowers?

as precious, as delicate,

as soft, wet garnets

bones like white wood

a pelvic nest, a ribcage fence

cradling a livelihood

badadum

I'll be gone from KORB on Vimeo.

country of ladybugs

there's a clarity within the cold, today. the unpenetrable sky, icy clear and blue, becomes almost unbearable by my shoulders. pulp in my orange slice glistens in the afternoon sunlight like biomorphic glass, i can feel my heart steadily pumping, the man holding up a cardboard sign across the street disappears into a police car. gray chunks of ice and soot line the street like sidewalk scabs. i lick the orange juice frost off my bottom lip as a ladybug crawls up the seam of a corner in the wall.

many of them are faded in color, my friend says maybe it's because they're old. there are thousands around here, like a collection of tiny heartfelt pebbles, drops of blood and insect, some moving through the dust, some dying in a haze. a small breeze picks them up in a tornado, their tiny, dry bodies swirling in the air like a post mortem dream. the silence is stirring, the space evolving, and an emptiness, a nothing, somehow emerges in and out of concrete. a "fertile void." i sigh and feel my heart skip a beat in the peace.