A Post Analysis
This project began as an exploration in infinite drawing, a space with no beginning or end. Non linear story telling works as a fusion of memory, dreams, prescience and presence. The scent of consciousness. It works on a singular level, defining past and future as we course through existence. Working in a seemingly never ending room, spinning freely about you captures that essence. In earlier experiments I would draw on paper, pulled from a roll until it ended. Contemplating a display method gave rise to the spinning wall. I decided I should display the full continual roll and install this on some moving transitional apparatus. Something like a conveyor belt perpendicular to its normal operating position, moving either vertically or horizontally. This thought ultimately evolved to a solid spinning surface in which to emit infinite gestural sensory responsive movement.
The conceptual growth of this project and performance grew out of the form and motion. The idea of space became vague and defined, much like a quantum particle. The observation of political and social adjacency to science, spirit and history allowed the essence and meaning of this art performance to simply manifest, open and readable through any interpretation. The relativeness of outer and inner space and what that means has driven much of my focus through the creation of Fault Lines. Public and private, sacred and popular can all be interpreted from this piece. The movement of the device can be a little unsettling and cause any number of uneasy physical or mental feelings. As this relates to me in a personal context, it could represent the uneasy or anxious feeling of moving or preparing for public from private.
As this device became more of a technological sensory platform, I became more interested in its potential in studying non-local communication. In order to further heighten other senses I decided to obscure my vision and immerse myself in meditative audio while performing. The manifestation of simply appreciating movement and sound, and moving freely with paint allowed an abundance of fluid expression and interpretation. I used both black and white paint markers as well as both right and left hands, each covering up the other. The entire performance was captured by 3 cameras broadcasting live over the internet, introducing ever more technology as communication and sensory experience.