Jona8than Green Art and Other Things

"He was waiting for some impulse, from he knew not where, to put his stopped life into motion again. " Jack London, Martin Eden

stolen from D, for she always reads better books than I. More enjoyable. I'm here reading Zizek, a Hegelian Lacanian philosopher who seems to think he can write about anything and does. And it titillates me to no good end in a way. Cept I never do it right, I never build up to these guys like philosophy students. I just heaves into it, picking one and ignoring the rest. I`m the same with my art history, I know a lot bout modernity but I`ll be damned if I could name a Corot painting. I skip movements and decades of arts with no even a side glance, banishing them to obsecurity in my mind.

I printed yesterday and realized my aquatint was superb, unlike my worry. The blanket on the other hand needed a spruce up due to printing a thousand small plates in the same spot. I later found it it just needs to be laundered, and thus should be restored. It`s a good image, should print well when I get my good inks come in.

The Erotic Show was yesterday at the Leyton Gallery. It was a good first start for that type here in the city. Some really interesting stuff, some expected stuff for an erotic show. Kent Jones was there in attendance, had some great drawings and we chatted. Told me about the blankets.
He later took Craig and I out to supper at Mexicali Rosa`s, and it was nice. Only wish I could entertain him as he entertains me with his stories.

Came back here after, though was not a lot to do last night. Eventually went home for a few drinks with C, was a bit of a gathering there by my roommates. Was okay, had some late night discussions with C.


``And no, you shouldnt have to wonder if the whole scene makes my cock hard.``
J.T.H

His words always seem like they speak true to me. Closest thing that Newfoundland will ever get to a Bukowski, and to that, maybe he falls a little short. But who cares. Only me in my idolizing. It`s just funny when you look back in hindsight and the divergent paths that happen. I could have a skin of red leather, eyes always in squint and hands that could polish pans. Its not too hard to imagine seeing the town, seeing the lines in the family. Seeing the lines in an uncle`s face.
Would just been another in a history of haulers and workhorses, with maybe a knack to get down on paper what I see.
Yet I`m not. I don`t know if those moments were decided by me, or decided my the parents, or who the fuck. It just never happened. I've only rode on a quad once, first time on the ocean was in Nova Scotia, and that's that; a hangashore most certainly. An outsider for a long time now, and it don't seem to be changing.

That's what the article was called in Art on Paper magazine. I picked it up today at chapters, running into an artist I've met here in St. Johns, we discussed art as we meandered around the store. He admits to being very much a formalist, so was interesting discussion.

The article, was kinda fun to read in some of the entries; Terrance Koh seems to manifest himself in the same manner as he does his art- a bit of coke. Some others were interesting, how some of the same doubts affect I'm having still find themselves in artists of semi-establishment. I have been thinking a lot on my career as an artist, or least my start of a career. These questions seem to be getting round, my bro-bot, is experiencing similar issues on what to do with himself. Might just be the plight of a generation really.
So what do I do with myself, I'm finding out that I'm not terribly good at administrative tasks from working at Eastern Edge. It is a good learning experience there, and very appreciative for it. My problem with it I just don't know how to excel in the situation or environment. Getting a lot of sponsorships and donations seem to be one way. But to me it seem that some of it is just luck of the draw, you get responsive people and other times you don't. There doesn't seem to be a method of leading there, is there any way of leading in administrative tasks besides just doing your work promptly and on time? There does seem to be a large amount of adminstration in the art world, so one does have to get better at it.
The job ends in September, and I really don't know what I'm doing. I might score some Joe Job, which from what I'm seeing is the best I can hope for. That will be minimum wage, and will suck. I can't afford to live on just minimum wage. There might be an opportunity in Grenfell in October at the gallery there, but then that will be for quite a few months and I would be leaving my bro-bot in a lurch along with leaving on the Don Wight Scholarship at St. Michael's. The opportunity at Grenfell would be decent dollars. Yet leaving St. Michael's would be wasting good time at the shop making art. Assuming my Joe Job gave me enough time to do so. The opportunity might not even arise, so should shut up about it.

I am applying for the NLAC grants in September, working on the grant proposal; that would be the Shed project. I'm ordering some inks Monday with some people at the shop in preparation for the print and drawing project I'm working on. Reading about the John Franklin Expedition for the North West Passage today. I, as said before got to start work on that soon, yet in defense I find the literature really exciting. Though in terms of concept it seems to be approaching the "About 1865" project that Tony Scherman worked on. He did a series of encaustic paintings based on the events of the American Civil War. Beautiful paintings, though not positive on the conceptual perimeters. Anything as a starting point perhaps?

I finished my editon Saturday, dated them, and signed them. Still have yet to get a picture, but will soon.

A update of my whereabouts lately:

Been workin at Easter Edge Gallery, trying to get the 24H.A.M up and on the roll.

Printing when I can get off my lazy arse at St. Michael's Printshop. Currently in the process of editioning an etching, one of my rocket images. Not sure what the edition number will be, 13 or 15 seems a good number, currently on number 5.
I've had a lithograph hanging round as well, needing to be printed. Got to get that it printed soon, so I can get on to another one. Have a few ideas churning. The edition number will that will probably be the same as above.
Been currently debating the idea of editioning as well. Not sure if I like the justification of it. Editioning is for primarily economic concerns really, all goes back to it, ensuring its limited and rare, can ask for more money. So really unsure if I agree with it, goes againest some marxist tendacies of mine.

Drawing as well, some rockets and a new project. The new project deals with using the history and imagery of the North Pole Explorers. Manliplating history, maps, imagery, text, etc to reflect my own personal exploration. Inspired by Jane Urqharts book "The Underpainter", a quote found in it.

Besides that, I have another project in mind, which I will be writing a NLAC proposal for. Hopefully I get it, would be really swell. Probably will be hammering out the idea a bit on here. Send it to my homies, get their opinion on it.

Also reading Terry Eagleton's "After Theory", which is a realy interesting read. That will be followed by some Zizek.

Outside of that, I do waste a lot of time napping like a fiend in the heat, watching Seinfeld, surfing the internet way too long. Like now. Identified that I have a addiction to caffine, particularly coke. Got headaches from now having it all day.

Anyway, that's it.

"And sometime around 2 AM you end up taking advantage of yourself. Ain't no way around that. Making a scene with a magazine."

Tom Waits, Nighthawks at the Diner 1975

And sometimes around 2 weeks you end up taking advantage of yourself and others. Ain't no way around that. making a scene with an art magazine

It's 2am, I'll probably be up for another two hours, if not more. Been reading Ralph Steadman's The Joke's Over, a book about him and his relationship as artist to Hunter S. Thompson, and Nietzsche's Beyond Good and Evil. Two madman perhaps. Also been reading the latest Border Crossing, a Canadian art magazine, fuck, been reading all the copies I have of Border Crossing. Looking for something, finding tons of things, I have everything really; some talent and skill, a decent enough mind, paper, supplies, even some ideas and sketches for Goya's sake, no distractions of girls or drinkin' distractions [though I'd love a little bit of both...], and the only things against that are few. Lack of space and no courage.
And I do have a lack of space, I don't have the grandiose space of the fourth year space in school. I got a wall in the bedroom for drawing and a small space out in the shed for painting or wood. The weather affects the shed, and it has been miserable. The room wall works though.

I just don't have the courage to draw or make art here. I have before, the summer past, but for some reason I don't want to do stuff in front of the folks. Have always been private around them, but as my art gets more introspective at times, I don't want to explain it to them. Shit, I don't want to explain anything. Isn't that lame? The being inside all day does not help either, this cabin fever. And without that courage to explain, or least lie, I can't draw. Can't draw without courage, won't be art, be demoralizing to use Nietzsche even. Would bring about the downturn or further downturn of humanity. It's an unfortunate excuse, but it the excuse.
Have all this talk about changing my ways in the previous post, but am I? I don't sleep at night because when I lie down, with nothing distracting, all the baggage enters, all the questions and worries.
Listening to Kanye helps, but not enough.

Still needs some more revising...

My work deals with the ideas of death and loss, through the use of objects, space, and narrative. I use objects that have contain small memories and history to them, and by placing them in created and often neutral spaces, to convey the larger ideas of mortality and loss. I use the medium of drawing, for it can show the sensitively and vulnerabilities of being human. It is like a slow motion version of thought, for the process of drawing can be imprecise, and uncertain. Drawing captures this by the power of it being an unmediated impression of the artists hand and mark on the surface.

My research is very intuitive and habitual, a part of my daily routine. My research is engaged in areas of art, philosophy, gender issues, sexuality, sociology, literature and an increased interest in thanatology. Death and loss factor in my research in ideas dealing with how mortality and death are dealt with in western cultures, as in issues of confronting and overcoming. Ideas on desire and death have also become an idea of note as of late, the idea that death and desire are linked.

These drawings are a continuation of the drawings from last semester, albeit indirectly, a refocusing on the topics at hand. They led me through my research to a passage from Bill Viola

“I want to go to a place that’s seems like it’s at the end of the world. A vantage point from which one can stand and peer out in to the void—the world beyond…there is nothing to lean on. No references…

You finally realize that the void is yourself. It is like some huge mirror for your mind. Clear and uncluttered, it is the opposite of our urban distractive spaces. Out here, the unbound mind can run free. Imagination reigns. Space becomes a projection screen. Inside becomes outside. You can see what you are.”

This was an inspiration point for these drawings, to use the paper as a huge mirror for my mind. The emptiness of the paper would focus the attention on the objects, and create the mood associated with the idea.

The drawings are a collection of objects, and I am extrapolating from Christian Boltanski’s idea of ‘small memory’. For Christian Boltanski ‘small memory’, is memory about little things; trivia, jokes, memories about the little things in life. [ I’ll get the exact quote for this and footnote] The objects in these drawings have memory, but only about small things, small events. These objects however can be used, with their small memories to create larger meaning and ideas through the drawings of them.

The tie clip is a response to an event in my life; the drawing brings the words meditated passion to mind. I choose this specific object because it had personal meaning to me, but I felt it could communicate to others as well by drawing it. I drew this object existing in a neutral space, an empty space, as well as the other drawings. Luc Tuymans and Toba Khedoori both use large amounts of space in their works to a feeling of isolation and emptiness in their works, Khedoori in particular uses it to create a sense of placeless-ness and acute sense of isolation. The neutral space in my drawings work the same way, however they are not totally devoid of a referent like Khedoori’s or to an extent Tuymans, my drawings have a horizon line as a indicator of space and distance.

The tie clip is an object with social and cultural meaning to it, it is an object of restraint but yet also one of flourish. The ability of restraint is also seen as part of the flourish, the ability to restrain one’s self. The ties with its phallic connections play in to this.

Drawn in a realistic manner, from life, and surrounded it by a large mass of charcoal, the item has been marked with tape so it would not interfere with the drawing of the clip. The clip is surrounded with this greyness, to create a surface around the clip that is indeterminate and imposing, to equate it with death. The tie clip exists without the tie, so there is loss and inability to function. The desire for sex is often equated for the desire of death, for death holds the promise of release from desire.

The finger trap drawing is that of a finger trap in the empty or neutral space, hovering in the space and the drawing is split through the middle by the seam of the paper. Perspective and the horizon lines exist in the top of the drawing.

This object of the finger trap is a trick device, where you are trapped by your fingers, and when you try to haul or pull yourself out of, you only get more trapped, the trap tightens. The only way out is to push further in, and let go. The finger trap is made of pieces of bamboo, braided together; bamboo is often seen as a symbol of longevity as well as the twisting and twining in of braiding. The finger trap is a joke, not intended as a restraining device or such, but rather to be an example that one must think differently to escape a situation.

The split in this drawing is to change the perception of the drawing, an interruption of the braid, the linking of the finger trap. To escape the finger trap, one must push their fingers to the centre. If the finger trap is split in the drawing, can one escape when there is no centre to push to? Is one really trapped? So by giving the split, one can see the finger trap as complete or not.

The drawing of the hammer head is drawn in the upper half of the sheet, to place it close to the horizon line and give it a good expense of space.

The hammer head is a found object, was found with no handle. In a way it is decapitated, and remain useless. The head is still good, but it needs a new body, handle to work. I invested it with small, localized narrative through the use of the shadow; the shadow alludes to the missing handle, like the shadow of the handle had been burned in to the image, still there. The hammer head is scratched, and pitted from the activity of work. It is not the shiny new hammer of a store, but one with a history. By the look of the hammer, the lack of the handle and the shadow, along with its position on its side, all work to give the impression of the hammer head being dead.
The horizon line is included in all of the drawings, dividing the empty space up and giving ideas of distance and space. However this is all relative, for the space could be essentially a table top or a soccer field, there is nothing in the drawing to give accurate scale. This relates back to the Bill Viola quote stated above. The horizon line is also used for its placement of the vanishing points, which indicate where all things must go. An idea of Nietzsche also figures in to my including of the horizon line.

So I have been reading about William Kentridge today, a south african artist. I have encountered him before in Vitamin D: Drawing but of course, it was still images. Then in digital class the other day, Mark Prier, brought him up and talked of his animation technique. Then I found a great interview with him in pressPlay
where he has this interesting quote pertaining to drawings.

What does it mean to say that something is a drawing-as opposed to a fundamentally different form, such as a photograph? First of all, arriving at the image is a process, not a frozen instant. Drawing for me is about fluidity. There may be a vague sense of what you're going to draw but things occur during the process that may modify, consolidate or shed doubts on what you know. So drawing is a testing of ideas: a slow-motion version of thought. It does not arrive instantly like a photograph. The uncertain and imprecise way of constructing a drawing is sometimes a model of how to construct meaning. What ends in clarity does not begin that way.

-William Kentridge.
pressPlay page 408

That passage really struck me, it seems to encapsulate how I feel about drawing but could never seem to get at...yet. It seems so true to me. Going to ponder it more. The idea of drawing-animation is very cool as well, thoughts of application on my skull drawings have come to mind.


I did some painting last night, a lot better than I had been doing. Light washes, pushing paint, started using a paint stick as well, which felt right and looked good as well to me. Bringing another element to the painting. Did a little more this afternoon as well before coming to this library. Really wish I could get up earlier, I'm feeling like not getting enough done. A lot of ideas.