Disembodied Desire: “when the taut nerves mock the numbness of the mind”

“…the themes of alienation, absence and desire …all of this seems so far removed from the place where I’m talking from that it saddens me, and somehow makes me feel obsolete…kind of dead, elegantly wasted (?). I’m not talking about some slippage from reality but rather some absence of destination, a random lingering, an objectless longing.” 1

“…those blank days, mild and hazy, which melt enamored hearts into tears, when they fret with some vague, twisting pain, when the taut nerves mock the numbness of the mind.” 2

“Disembodied desire. It’s really a constellation of factors, a convergence, I guess. It happens when phenomena stack up right there, at the margin of your consciousness. Then, suddenly, it comes. All that is needed is that particular scent, the angle of the sun, your own freshly dried skin (still supple from the wetness), that old song; it has all been said before. These things usher in a yearning, a hoping. It’s a call from the past, something you’ve lost or, to be honest, something you’ve never really had. You don’t know what it is anyway, but that feeling, that sweet aching is almost enough – almost enough to make life feel right. To feel as if you’ve been called, to feel as if you’ve been wanted, to feel as if you’d been in the right place and had known it – had felt it – at the time. When that song comes on, when the night is just right, it is all there so close to the surface. Ah, but when you reach for it, it disappears! It is as if the exact cognitive mechanism used to focus in on that feeling, or time, or place, causes the very same thing to rush away. There must be some inverse relationship there: the farther you are from logically apprehending the shadowy image the closer you are to the essence of it. When you set up for a closer look even the sense you seemed to have of what you wish for flees from you. It is a small surprise then that wishes can take on such mythic proportions.” – from A Mnemonic of Longing, an unpublished essay, 2002-2009.

1) Robert, Jimmy. Self-Portrait. Appeared in Tema Celeste 96, March/April 2003, page 76.
2) Baudelaire, Charles. From the Francis Scarfe English translation of the poem Cloud-dappled Sky, 1857.
 
Images from digital photos taken between May and August 2001.

Transpositions Feature: A Short Essay on Faith, Art and Teaching

I was recently invited to present an essay of reflections on teaching and faith by the Institute for Theology, Imagination, and the Arts at the University of Saint Andrews in Scotland. The piece has been made available online, so check it out:

Generosity of Spirit: A Perspective on Faith, Art, and Teaching

And here are a couple shots by Columbia Missourian photographer Michelle Kannan, taken during my Summer Session class this past July. I’ve never had any documentation of myself teaching before (other than audio), so the images that Michelle took are nice for me. I think they capture some of the excitement and passion I try to bring to the classroom.

Two New Catalogs

I’ve recently collected some bodies of work into small catalog format. The Lamentations 3 Series, from 2009-2011, and shown recently at Gordon College in Massachusetts, is collected along with images of the copper plates in process, some installation shots, and an essay that I gave as a lecture at Gordon during the opening for my show there. Click the image below for more info.

The second book is a collection of some of the 100 or so Locus Series works that I created between 1999 and 2001. I present about 20 images along with a short essay I wrote in 2001 when I concluded the series. I also wrote another short contemplation this year to reflect on what the Locus Series has meant to me. Click the image below for more info.

Current Shows, Catalogs, Essays

A lot going on these days.

The show I’m in at MANIFEST in Cincinnati has just released the catalog (cover below, click it to order one – it’s volume 43, bottom of the page).

Also, I’m included in a show at McNeese State University. Click here for more info. If you’re near Lake Charles, LA, go check it out!

I’ve got an article in the Columbia Daily Tribune up as well (and keep on the lookout over at Neoteric Art for my upcoming essay on Art and Subjectivity!). Click here to check out the Tribune piece. Below is one of the pieces I talk about (click it to see more about the image at the Brooklyn Museum):

Latest Essay – On Robert Henri, Subjectivity, and the Nature of Being

My latest essay, Subjectivity and Robert Henri, was published this week over on the Neoteric Art Blog. I’m really proud of the piece. It challenged me while writing it and I think it’s something I’ll go back to again and again.

Check it out here.

I have to say that Annie Dillard’s Pilgrim at Tinker Creek and Gaston Bachelard’s The Poetics of Space were major influences in the essay. Here’s to good thoughts and words, ones that reproduce (even if only in some small way) after their own kind.

A Note on Andy Goldsworthy

Andy Goldsworthy functions as an artist in a continuum of what I would call shamanistic principles: permeability, density, liminality, derivation, change, and transformation. That is, he manipulates and transforms the materials of the environment in some dynamic sympathy with them. This sympathetic approach is one that makes him keenly aware of his communication with and orientation toward the world. Because of this the work is in a very real sense suggested by the environment, the work’s parameters of possibility defined by the environment, and the artist’s intuitive making directed by the environment. There is very little “manhandling” going on here, very little ham-fisted, blundering action. His art is not an image of mankind dominating or playing flippantly with the world, but rather one of the sensitive investigator being moved forward by suggestions from within the investigated schema. His message is his articulation to the environment, not in some sort of neo-pagan hippy vagary, but in action, physical touch, biological aesthetics (i.e. basic 2D design and shape dynamics, which extends beyond the 2D into the 3D via his spatial and sensation-based investigations). The message isn’t linear like literacy or mathematics. It’s kinesthetic and alchemical. Zero irony, total being-ness. Awesome.

Get more info on Goldsworthy here and here.

The sketches I post here are ones I made during a visit I and my cousin Chris (a photographer) made to the Storm King Art Center in New York State to see Goldsworthy’s Storm King Wall. The trip was inspirational; I highly recommend making a stop at SKAC if you’re in the area.

Update (December 17, 2009): There’s a great piece on the ART21 Blog about Storm King that discusses the history of the place, how they think about acquiring/installing new work, and other interesting tidbits. Check it out.