All posts tagged: architecture

Conversations Pt. 1

My first question for you is why in the hell are you making songs about the projects? I’m sorry pardon me I believe you mean photographs.  You are a rapper, yes? I’m making photographs of project buildings. My working with geometric square and cube shaped geometry has been consistent. I am entertaining the thought that I am imposing a spot into the structure which may open room for political consideration. What do you think? What Do You Mean, collaboration? Yes, I am speaking of something that may be possible for you. If you consider a culture to have a shape you must wonder of your own. Imagine two shapes, where are it’s points. What happens when a culture imposes a geometry on another? Yes, that is a good question . One I will consider in the context of public housing in New York City. I suppose the most obvious answer is discomfort . Another person should answer this as well . Discomfort meaning the opposite of comfort, or lack of? Both , a am thinking …


Louis Kahn: The Power of Architecture August 11, 2017–November 5, 2017 Opening Reception: Wednesday, September 6, 2017, 6:00–8:00 pm The exhibit of Louis Kahn’s architectural career on the 8th floor of the Fabric Workshop Museum in Philly presents an obviously male gendered and white notion of city planning and priorities.  ‘A small boy walks through a city and sees something which will tell him what he wants to do his whole life . ‘ Ok, I will accept this premise with adjustments to the assumption of gender and race. Wondering, then, what I have seen which has told me what I want to do my (whole) life. One beginning note is that my (whole) life is a consummation of variant architectures and landscapes. The quote on the wall seems more applicable to one born and raised and died within the city. So, in order to consider its possibility, I will wonder within the context of my (whole) life in New York City. Then, specificity becomes necessary . I don’t believe I have seen much in Midtown …

artist in focus

What themes or subjects are you currently addressing in your work? I am currently addressing narrow environment; exploring vertical space. A print is a subjective response to my experience of perpendicular architecture, to movement within upright bounds. What materials do you work with? I work with paper, ink, and copper plate. I am a printmaker. I use acid (ferric chloride) to alter the surface of the copper plate. I use grounds to control what areas of the plate are exposed to ferric. I draw line into hard ground using a steel needle. The plate is etched for a longer duration to achieve more density in the line. Rosin is used to create areas of tone. I prefer charbonnel inks, the grain is smaller. I usually print in black and blue ink, but I may add areas of color using rice paper glued to the printmaking sheet. This process is called chine collé, the glue is made from methyl cellulose. I do also take 35 mm film photographs and use objects from the negatives. What is …

jean carzou

  Jean Carzou (1907-2000) is an Armenian artist from Syria who worked in Paris as a painter. Perhaps influenced by his architectural studies, most of Carzou’s work is composed of many vertical lines and large areas of vibrant color. He typically painted public areas and buildings, and is also known for his illustrations of novels by Hemingway and Camus, set-designs for Parisian ballet and opera houses, and being devastatingly handsome.

diana morales G

is an artist from Mexico City. I was connected to her through a friend at totemic17, an artist collective focusing on contemporary woodcut printmaking. Diana’s work features architectural forms, the matrix she creates is modern and personal; I am interested in the artist behind the lines. The lines themselves are confident and loose, an honest representation of urban space. The tool lifts from wood, allowing a pause, the construction of real space. We may be looking at the same time, the graphic render of our repetitive environment is appealing to me. I am looking at her addition of curve into a grid, something I have yet to practice. I wonder of the differences in city, she is drawing in Mexico City, I am drawing in New York. How do I allow pause in the narrow forms of New York? Or, more importantly, where is there pause in New York? Perhaps it is a matter of time/of day …Back to the studio, will find some wood… Images are copy and pasted from the artist’s facebook, 2016