“Rectangular Panoramic Reality”: Published in the Queens Museum’s THE PANORAMA HANDBOOK: Thoughts and Visions On and Around the Queens Museum’s Panorama of the City of New York, 2017
The shape of reality is rectangular. Probably because it’s proportional to binocular vision making it the most natural space for depicting visions of what each of us experience as real(ity)/ies. The verity of Rectangular Culture is pervasive wherever civilization exists. It is the acceptable shape for media, from painting—to TV screens—to devices—it’s where formations of truth-telling, that wrap a user in ideology, are depicted. The panoramic view is an elongated version; a container for horizontal movements through time and space. The thing exists as both experience (the view), an object (the photograph) and a concept (a range) that proves what truly surrounds a position in space. But isn’t it also a succession of focused visions? As the body pans through a panorama it’s not only oriented geographically, but ideologically. It’s movement through a verdant landscape of real(ity)/ies. The periphery of a panorama is hazy, uncertain and possibly less-true. That is until the concentrated gaze holds a narrow view as an object of thought to be considered, and reflected upon. A clearer sight emerges from the haze to become reality. A panorama is not an objective perception of what surrounds, but a series of rectangular visions that constantly become true, less-true, and true again. The panorama is proof of doubt.
“The Future of Chinese Font Design”: Published in Plots Journal Volume IV, 2017
“The monk Huai Su (懷素, 737-799 CE) grew 10,000 banana trees outside his home so he could use the leaves for calligraphy practice in place of rice paper which was rare and expensive in Tang dynasty China (618-907 AD). Born in Changsha, he traveled to the Western capital in search of knowledge and advanced calligraphy training. He eventually impressed important officials of his age and gained fame for an especially gestural abstracted form of Chinese hand writing called tsao-shu (草書), which literally means “grass writing”. His autobiography is one of the only surviving examples of his writing left In the 25-foot-long scroll, he describes his many exploits and achievements with monk-like humility…continue”
“Is the canvas blank?”: March 28th, 2017
“A material apartheid exists in the contemporary art world. The traditional arts of the West, like canvas painting are neutralized with blankness, while those of the other are segregated into museological classification and hegemonic labeling. There are thriving Eastern calligraphy “art worlds,” with millions of practitioners engaged in discourses about modern mark-making, but their work is looked on with the orientalist gaze…continue”
“Disaster Magnet”: November 6th, 2016
“The north pole of one magnet attracts the south pole of a second magnet, while the north pole of one magnet repels the other magnet’s north pole. Clumsy? Hardly. Drama filled life? Not Usually. I’d say I’m extremely lucky even. I’m not one of those people who interpret cancelled flights and lost phones as cosmic punishment or inauspicious probability. Shit happens…continue“