< Solidified Street Data Offerings >
October 2016 – One of the original ceramic pieces I created back in late 2001 has been given back to the NYC streets as an offering. It is a spiritual offering. A spiritual offering and thanks for the awareness of graffiti and non commisioned public art. The installation is a visual peek into the future while being conscious of the changes happening in the moment. I attune to the codependent aspect of technology and the love for sharing as it expands. The piece represents fragments of my own recorded data. The data has been stored and solidified into a tangible object taken from a server stored on an old computer. I began to make and place these pieces on the streets of NYC and beyond as far back as early 2002. They are indeed ceramic, weatherproof and easy to place to mark locations where my recorded translated data exists in other formats. The process: clay is pressed into an outdated motherboard that once served an existing computer I worked on. Bits and pieces of my energy ran through this machine and it components. When the clay is pressed into the form and pulled off of it, it retains an impression and a memory of the energy that has ran through the computer. The pieces are then cut into a rectangles (which is ironically the form we all hold in our hands each day as we navigate the internet simultaneously with our physical reality) then fired in a kiln. The pieces are made of organic materials and its process also uses the elements of water and heat to complete its seemingly permanent existence.
These pieces are meant to be taken. They are not signed and dated by the artist because they represent the potential of art itself. As I mentioned these are offerings of thanks back to streets from where my awareness of graffiti and non commissioned public art began. Especially non-commissioned art. John Feknerย activated the masses with illustrated visual public landmarks charged with awareness back in the 1970’s, the same time when Lee Quinones was completing full subway car murals that ran from borough to borough. Those trains were activating thousands of people to the creative potential of art and how it may forever change the way we see and experience our immediate surroundings and beyond. Agnes Denes’s “wheat field” pushed us to “see” more than we may have ever considered in 1982.ย RJ Rushmore brought us up to date on these evolutions withย Viral Art. The net based book is an incredible series of insights into how the internet has played a role in how graffiti and street art has advanced and changed the way we look at public space both in physical reality and virtual. I can go on and on.
Gratitude, and more of that.
short-link to this post – https://ryanseslow.com/oXZ1S
