GIFS

making things

Tried my hand at making a few arty gifs for the gif show at mammal gallery.   Pretty fun…

BIRDS2

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These black and white ones are from video documentation of my performance “Darkness” in 2011.  I blindfold myself and stayed in bed for 3 days.

BLINDFOLD

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EMBROIDERY

art-speration, art-splanations

I have been looking up embroidery, trying to decide if this is a medium I’d like to indulge and incorporate, or if I already have enough on my plate. I feel like it’s a natural progression of where my work is at already…but sometimes my ideas move faster than my output can handle. I look back and feel like I wish I had more work to evidence each of the concepts I digested at any given point. Will my mind ever slow down? There are worse things I guess…

I found this really great place NEAR ATLANTA! called Japanese Embroidery Center – I will let them describe themselves:

“The Japanese Embroidery Center (JEC) is a nonprofit educational organization whose mission is to preserve and promote the cultural heritage of Japanese embroidery through the pursuit of Nuido™, The Way of Embroidery. The word Nuido™ is made up of two parts; Nui, or embroidery (also shishu), and Do, the way of Nui refers to the acquisition of technical skills and knowledge. Do refers to the development, and constant discovery, of the spiritual components of the art of Nuido™. Nuido™ has three aspects: the acquisition of technical skills and knowledge (rationality), the development of artistic sensitivity and awareness (sensitivity), and understanding the spiritual aspects of shishu (spirituality), resulting in a state of peace, calm, and harmony.”
http://www.japaneseembroidery.com/

I am definitely drawn to the intention and ritual, the idea of meditation before working, having a sensei, everything about it really. And good on them for getting over here and further taming the wild, American beast. An information video on the site said the hardest thing about teaching students in the States was getting them to shut up during class – we can be so obnoxious as a culture, like a toddler. –I probably, wont be able to get in and take a class until next year, but I’m glad to know it’s there for me when I’m ready.

I love that the  students of the Japanese center learn gardening and appreciation for nature’s role in their craft.  It isn’t really clear whether or not they are introduced to silkworms and if that’s what they are working on maintaining in their garden, or if they are simply growing their own food.  Either way, I think hands-on interaction with the earth is essential in maintaining a tradition and culture of ‘big picture’ understanding.

There may come a time when I will only use found material.  This is hard for me because I love paint so much, but as a medium, it’s completely artificial…or at least in the ways I indulge it.  I want to find a more sustainable, but simultaneously archival, way around this.  I know I can make my own pigments out of plants and household items, but the way I’m painting currently, this isn’t really practical.  The dilemma itself really is the greater umbrella concept of my work: the intoxicating trap of artifice and the quest for ways to find the purest relationship with the natural world possible, coming from an honest evaluation of where we stand today on our journey as humans on earth.  I’m not too beat-up by the conflict as it applies to my personal work though – I’m confident I will arrive naturally and gradually at solutions that make sense and support my ideals.

…So do I paint on the fabric and then embroider on top? or do I pour paint on top of embroidery. Probably BOTH! Playing with stitches will be added to the bank of stuff to play with while I’m in Vermont. OH! This is perfect considering I will be meditating and yoga-ing daily. So excited.

the featured image:

from the series Red Sky at Night by Rebecca Ringquist — Bounty, 2011, 60 x 32, Embroidery and machine stitching on found fabric

http://www.packergallery.com/ringquist/index.php

YOLKspace

real life stuff, yolkspace

So it has been decided.  The name of my home gallery/studio/eventspace/what-have-you is officially YOLKspace.  Despite all the uncertainty, “yolk” was the original idea – funny how it always works out like that.

YOLK – I think of it as a sort of incubation chamber of concepts, a source of vitamins and minerals.  We will see what the future holds….

STUDIO NO. 7 OPENING

art show, real life stuff

Last night was the opening of my show “Peaks” at Studio No. 7.  It went so well, I don’t even know what to do with myself.  Friends, family, family friends, all the good stuff.  Perfection.

Sorry for the crap picture quality.  Wasn’t a top priority of mine I guess.  Stay tuned for pictures of new paintings!

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my whole family on one couch

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my cousin Kyle, his girlfriend Iris, and I

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Radcliffe Bailey and I

 

 

ALIEN (the movie) / more thoughts on MONSTERS

art-speration, art-splanations

Last night I saw Alien at Plaza to continue my research on monster movies, gender archetypes, evolving myths and what have you.  Now I’m doing a little research to follow up.

I have ordered the book The Dread of Difference for a little further reading – more specifically to read the article “Horror and the Monstrous-Feminine: An Imaginary Abjection” by Barbara Creed.

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On a less reputable search result note, THANK YOU WIKIPEDIA!

“A monster is any creature, usually found in legends or horror fiction, that is often hideous and may produce fear or physical harm by its appearance and/or its actions. The word “monster” derives from Latin monstrum, an aberrant occurrence, usually biological, that was taken as a sign that something was wrong within the natural order.[1]

The word usually connotes something wrong or evil; a monster is generally morally objectionable, physically or psychologically hideous, and/or a freak of nature. It can also be applied figuratively to a person with similar characteristics like a greedy person or a person who does horrible things.

The root of ‘monstrum’ is ‘monere’—which does not only mean to warn, but also to instruct, and forms the basis of the modern English demonstrate. Thus, the monster is also a sign or instruction. This benign interpretation was proposed by Saint Augustine, who did not see the monster as inherently evil, but as part of the natural design of the world, a kind-of deliberate category error.[2]

GODZILLA

art-speration, art-splanations

The other day I took myself on a hot date to see Godzilla at Plaza Theatre.  I entered with the usual assumption: I’d see a classic, old movie and indulge a little nostalgia for recent human past.  I was excited to find that elements of the movie actually tie nicely together some of the ideas I am trying to work through in my paintings, as well as further solidify and connect interests I haven’t formed informed explanations for.  For example: I have always felt a pull towards Japan.  I am interested in ritual and process and find these attributes are a bit atrophied in USAmerican culture where emphasis on quantity and speed overwhelms quality; I am still seeking sources to justify and support these claims. Anyhoo, Godzilla shined a light on a whole other aspect of Japanese philosophy//other phenomenon I had no idea I was headed towards.  Check out these pics I snuck…

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POINTS IN GODZILLA I’M EXCITED ABOUT:

– gender and family issues – that whole love triangle between Emiko, Hideto and the scientist Daisuke
– The self sacrifice of the scientist Daisuke at the end. He destroys his notes, knowing that his discoveries could be used for good, but their potential for evil and dangerous applications make them unfit to share with mankind.
– anti-H bomb propaganda and morality of the sciences was a delightful and unexpected enhance my own personal claims.
– Japanese philosophy about the balance of the masculine and the feminine. The bomb as a symbol of masculinity, nature as the feminine – the disruption and retaliation of nature on man. Ultimately the feminine restores balance.

WOW! NEW POINTS OF INTEREST TO EXPAND UPON:
Mutations, monsters, archetypes and evolving myths in the modern world

A lot of the ideas that struck me,  gender-issues, ideas of family structure, etc, are all further discussed in this article by Jerome Shapiro (http://serdar-hizli-art.com/symbolism_in_art/symbolism_in_japan_movies.htm). Reading through this has helped shape and inform some of the points mentioned above and also have got me wanting to rip apart monster movies.

MY WORK AS IT STANDS TODAY:
Agitated nature-scapes in contrast to the serenity / majesty of historic depictions of landscape in painting, photography and drawing. I reflect on a landscape interrupted by human “progress” – technology, strip-mining, clear cutting forests, irresponsible agriculture, pollution, trash, waste, consumer culture. I am trying to depict a space that is unbalanced and victim to the indulgence of the masculine (if we’re relating it to the philosophy of harmony and balance of the dual forces: feminine and masculine) and judeo-christian notions that nature is at our disposal. Maybe I will take the ideas of the feminine, represented as silk, weaving and healing acting as calming balance to these landscapes. But then what are the gender role stereotypes I am indulging in doing this? How can I see “masculine” and “feminine” as compartmentalized concepts that exist in relation to one another in duality, but also have attributes of the other with in themselves? …THE YING YANG lol.  The cocoon may be a place for incubation, the womb a place where change and growth can be made, but it is also a sort of prison, isolated.  I want to emphasis and explore the ideas of gendered constructs in their extremes as unbalanced, not that the feminine is inherently positive and the masculine negative, or the opposite, which is a bit more ingrained in our language and in our tradition, at least in the Western world.