New writing section on website

Hello folks!

A not so brief explanation for why there’s a new writing section in my portfolio.

So my creative practice over the past 6 months has been almost exclusively writing. Why, you might ask, the sudden switch to something completely new? The answer is that it isn’t really new for me…just almost entirely forgotten.

A long, long time ago (we’re talking early twenties here) I had two creative practices: poetry and sculpture.

I majored in Fine Art at Washington University in St. Louis, and by Junior year had settled on sculpture as the direction I wanted to head in. I still needed to fill out my academic calendar with language arts, though, and so in spring of 1989 I enrolled in a poetry class with Donald Finkel. And then another.

And I discovered I loved poetry. I loved the way language worked, the way words fit together. It felt visceral; it gave me the same sensations I felt making visual art, when something came together just so. I understood it.

I was also not bad at it.

Halfway into my senior year Don took me out for a beer at a blues bar in University City. He was a great guy, a big booster of students he believed in, and I think this was his way of providing mentorship outside of the classroom experience. Don told me that when he was younger, he had to choose between visual art and writing, and chose writing. He said that it was hard to do both, that he couldn’t do it, but wanted to see me succeed if I could. He was very encouraging. He was, I learned much later, at the end of a 30 year run teaching at WU and about to retire, so I imagine he was in a period of reflection on his own career. On retirement in 1991, he returned to sculpture.

I was 20 or 21, and at the time I had it in my head that there was nothing standing in the way of pursuing whatever creative practice I wanted. I didn’t, of course, know then what life throws at us, the ongoing weathering of the soul that shapes us as we swim through the years, what we carry forward and what we leave behind.

I continued to write as a separate creative practice until I was 23 or so. For a few years the work merged with my sculptural practice - words appeared on my pieces. That work now exists only in 35mm slides buried somewhere in our basement. Sculptors tend to be less archival about their work than other disciplines - it’s literally too much baggage to schlep through life.

But at some point in graduate school, the work went silent. I applied to a few visual arts graduate schools, but I also threw in a writing program - the Iowa Writers’ Workshop. I said to myself, “well, if I get into that, then I have some decisions to make”. I didn’t, and when I arrived at Cranbrook, the words started to leach out of the visual practice.

It wasn’t a bad thing - my work was evolving, and grad school is about cycling through rapid changes. This was one of them. But as a consequence, close to three decades sit between the last time I took writing seriously and the next time I committed to it.

Enough time has passed that even the physical act of writing has changed for me. The last time I wrote a poem prior to now, I did so on a typewriter. It wasn’t even electric. I would type, cross out and write in lines with a pencil, then re-type the whole thing. Having taken up writing again, I find I miss that. Not enough to actually drop this laptop, of course! But the tactility of high quality paper as you yank it out of the carriage, the feeling of letters on the page…I miss that. It’s like driving a stick shift.

There’s another angle here, of course. I’m quite aware that poetry wasn’t the only thing I set aside when I was young. Writing is in some way connected to my experience as a trans person. There’s a lot to unpack there and I’m not going to do that today - this entry was just meant to be my attempt to explain why there’s a new writing section on my website.

But am I actually good at writing?

I don’t know and no longer much care, I guess. You can read this stuff or not, your choice! This website has veered sideways as my own creative career has twisted around. It used to be much more of a marketing tool; now it’s more like an ongoing document of my experience. I think I like it better that way.

On time and making and marking time

So here's an oddly comforting/motivating/bleak thought:

I'm edging toward my fifth decade of life, and have been thinking about how to use what's left to me.  We only get so much time on this earth, and when the clock runs out, how do we jibe what happened, what we did in that time, with what we wanted?

The calendar's ticking too.

The calendar's ticking too.

For me, especially lately, it means refocusing how I use that time toward the things I want now, so I can't say later that that time was wasted doing what others wanted instead. 

I have kept track of my studio time since 1998 or so, with a few gaps in record-keeping in the mid 2000s.

I've always thought of this in the way you might think of a FitBit - you can't improve what you don't measure, and clocking time gives me something to game, to better.  Can I put more time in the studio this year than last year?

But increasingly time has come to mean something different to me.  It's not how much I've banked, it's how much I have left to spend, and how not to squander it.

2017 is about this.

 

MINIMAX at Bullet Space

Andi, Sam and I went up to NY two years back (October 2015 I think) to see some old friends.  While there we dropped by Bullet Space; our friend Amanda knew somebody in the show. I started to write a draft post about it here and then...um, got distracted.  I suck at blogging.

I made a 2017 New Year's commitment to blog regularly here, so this morning started going through unfinished posts.  There's one about Citywide Philly that is worth finishing, so I'll come back to that sometime this spring.  Others I just dumped.  But I really liked this MiniMax show and felt it would be a shame to just delete it altogether.

So here's the draft from 2015.  It was a great show.  I literally (and unfortunately) have no words

If you were in this show let me know and I'll caption the images!

Manny stole my Sol LeWitt

Someone emailed me the other night, doing research on all of Sol LeWitt's Wall Drawings. Apparently LeWitt kept track of all of the "first drafters" of each of his pieces, and I did an install of one of his shows at Ace Gallery in 1997.

Anyway, brought back memories of schlepping down to Washington Street (I think?) on spring mornings, crappy coffee in a Celadon blue Greek printed paper cup, to work on a drawing that now I only vaguely remember as being "wavy and long".  I think it's this one (below). I had a crush on one of the gallerists too, which I think was pretty standard fare for single 20-somethings.

Sol used to give out prints of his work to the artists who worked on his drawings. His studio mailed mine to 57 Hope Street in Williamsburg where I lived, but I never received it. I always assumed Manny, the gun-toting, porn-wallpapered-basement-office superintendent of the building who used to scream at the Chinese factory workers across the street, and who we paid to get our mail, and who we had to bribe to run the elevator, threw it in the trash.

Oh well.