Archive for January, 2010

SF by Way of D

Thursday, January 21st, 2010

(D for desire, doom, debauchery, deviancy, depression, drunkenness, degeneracy, depravity, despair, disorder, destruction, disintegration, dissolution, death…)

Clouds blowing through dark sky as I cross the Bay Bridge. The lit skyline rises before me. It is approaching midnight. I stick my head out of the car window and howl. The school is silent under the moonlight and the stones are cool. It is the first stop I make and I pee on the outside walls thinking “this is my new home.” In front of the hotel where I will stay strut half a dozen big-legged whores with thickly made-up faces and numb looks. I buy cheap scotch, find a place in the park, listen to Seventeen Seconds, and fall asleep in my car. When I awake a Chinese man stands before me swinging a chain around his body and blowing a flute. I check into the hotel, meet my future roommate, a nice, cute and tough girl. At nighttime I go out, towards South of Market, looking for something to eat. Police cars are interspersed between hookers, pan-handlers, street people, and thugs. Later, I feel that a sinister presence is trying to get into the room through the keyhole in the door. The next morning I see small burn marks around the doorknob, and a cloven footprint on the carpet just before the door. This is a bad omen, and I feel fear and strangeness moving in. My car is broken into and the stereo is stolen. The signs are clear to me: if I am to succeed (or even survive) here I must swim with the current and embrace the craziness head on. I walk up Haight street, look for freaks, and score some acid…

The drug-induced, sensory-overload, subconscious plundering tactics are a way to establish inner necessity, to discover what’s meaningful by deconstructing previous notions of art (sacrificing previously held notions of identity). Pulling out that which is hidden. A questioning by contradiction  of various conventions I have concerning painting, myself, and society. Looking for something in the repressed, the hidden.

I drink from a bottle of beer wrapped in a paper bag sitting against a wall and watch the prostitutes down around the corner. I‘ve never seen any this close before and I’m fascinated. They call to each other, get into cars which take them away, get driven back and emerge from the cars gesturing and calling to each other again. I watch for a few nights until one of them approaches me. She tells me she’s seen me watching her night after night, and that she knows what I need. She asks if I have a car around, and without thinking I point to it—it is sitting only fifteen feet away—she gives a big grin—her two front teeth are missing—and says, “let’s go.” I can’t think of any reason not to, and soon we are in the car. After she asks me to put my money on the dash, I place the fourteen dollars down that I have, and she swipes the bills away, she leans over me, supported by her knees on the passenger seat, gets my seat reclined and my pants down, and lowers her round, black face down into my lap. Her cool mouth slides around my stiffened flesh. I pull up her skirt and run my fingers over the warm, dark skin that’s bare underneath. She moans and gyrates, sticks ass out, her cheeks press up against the passenger window. Formally dressed, elderly white people leaving the theatre walk by, trying to look away and keep composed. The street seems to glow and my mind spreads tingling outward…

*

San Francisco struck me as an enchanted city. It was small enough to walk across, and yet packed with interesting architecture, people, and energies. A year or two before this I had gone to the city to visit a friend, and he had taken me around and showed me some sights. I had hung out and gotten loaded with some neo-hippies on Haight, seen a beautiful, tough tattooed goth chick fetch a huge snake out from behind an apartment off Market, went to a trippy, dark and dreamy party full of sexy, made-up people moving in slow motion through dim, colored lights, and wandered around the halls and studios of the Art Institute. The whole place seemed exciting and alive, and I started to think about the idea of moving there and going to art school. It seemed to be the perfect environment to creatively rearrange oneself and encounter something inspiring.

Steps

Wednesday, January 13th, 2010

High school didn’t grab me, at least not in an academic way. Actually, I thought as a program of education the experience was a joke. My mind during this time drifted off, searching for more interesting, stimulating terrain, wanting to cut an alternative, creative path that was informed by my interests in music and intoxication. I realized after I had graduated that I needed to engage in a more serious study of art and should try some college. I began taking art classes at Art Center College of Design, while fulfilling my general education requirements at the local community college, College of the Canyons. After a couple of years I picked up an AA degree in Art, and acquired a little bit of insight, confidence, and technique through the half dozen life/figure drawing classes. In addition to drawing and painting I was very much into photography. My first job after high school was at a photo shop, and sometimes I’d acquire equipment in place of a paycheck. I set-up a darkroom in my parent’s laundry room and spent many, many hours in the dim red-amber light, bent over trays of chemicals, watchings images emerge burning on wet paper.

I was interested in exploring the modes of visual art as forms of cognition, and I engaged in various approaches of image making as ways of acquiring knowledge and understanding through a subjective experience of perception and thought, a type of thought that was both visually symbolic and visually textural or tactile. Because of this there was something very attractive and challenging about painting. It seemed multidirectional and unlimited in its potential.

This is the period when I ingested mushrooms for a sustained duration. Also of influence were the creative relationships I had with a few friends. We would get drunk, go on road trips, stay in weird motels, watch movies, listen to music, have stimulating conversations, experiment with intoxicated states, make art, eat, sleep, try to avoid responsibilities, and heave through life, dealing with ourselves and others, figuring out who we were and what we cared about. Sometimes I was euphoric, other times I was depressed, sometimes I was emotional, other times I was indifferent, but it was a great time, filled with ideas, impulses, influences, and insights. There was something very potent and special in these eclectic, subjective experiences, something that my art practice was deeply informed by. There was something about the feel and presence of this time that I wanted to capture in my subsequent artwork, something that would manifest itself in strange and murky atmospheres. If this time had been a space and my visual art an audio recording, than it was the particular sonic imprint, with the reverb and echo characteristic of that room, that was so important to the piece. And I would try to call it up in many later pieces, through a felt memory, and in the form of texture.

After a stimulating visit to San Francisco, I applied to the San Francisco Art Institute, was accepted into the school, and eventually packed up my car to move up there and engage in further study.