July 17 – Asynchronous
So, still working here:
https://chrisncohen.com/churches/
Got the census demographics and photos of the churches loaded in as well as the complete list of the churches. Any and all commentary is welcome.
I love the addition of this map. I think it does three things that nicely bring the viewer closer to the project and connect to the work.
I might spend some time making a list of connections and which you feel most invested in. We had spoken last time about possible sociopolitical relationships that could be explored but of course, there’s a lot that you could parse out from the
I loved this feedback, Armon. Thank you very much. It inspired me to color code the denominations of the churches, which I think has highlighted something kind of interesting. Besides the fact that Baptist and Non-denominational churches overwhelmingly dominate, there seems to be a distinct divide between those two churches along the lines of education, poverty level, and (I assume) race.
Hey everyone, I got really sick this week and was down really since we met last Saturday. I’m okay, I, unfortunately, have just had a strange reaction to getting my vaccine. Anyway, I’m not just getting to adding the notes from this week. I just wanted to apologize for the inconvenience.
Otherwise, keep moving forward with your work and post any new images or thought you’d like feedback on and I’ll add some things here shortly.
Hi Armon
I’m sorry to hear this. I hope you are feeling better.
Ack! That’s horrible! Get well!
Ugh so sorry you were sick…hope you are feeling better!!
Tracy,
It seems like there’s something about intersectionality that plays an important role in this work. We had spoken about it in regard to the sense of layering that happens and a few of those previous images talked about last week. I think we also see it to some degree in the video if we think about video being frames that are layered in succession to one another. So I think these moments where instances or elements come together in the photograph become something really important. Whether it is the interaction of shadow, or the remnant of paint/graffiti on the wall,
or some other extraneous marker that makes its way into the image.
I think it’s these moments that speak to a sense of place and presents which we talked about. But I also think it’s those things that speak to the structure of the photograph almost in a formal sense, that flatness that I spoke about is giving body to some degree. That body nicely begins to create a sense of depth that can’t be found in the physical photograph itself, so we begin to search for in concept. I believe that is where we hit that state of physical being, and the potential of how it connects to wellness, mental health, a physical state of existence.
I’m still very curious about the difference between the color and black-and-white images. I think each of them have something unique that speaks towards that particular image, but I think it also speaks to a sense of timeliness. I think as you are walking around your space and capturing these images the color ones seem more like a sense of how you engage with the outside world. Whereas the black and whites seem like they’re about how you engage with yourself in a space and how you allow the space to engage with you. And I think for me that speaks to that sense of inside/outside, internal/external that is so necessary and having conversations about wellness and health.
Hi Armon
Many thanks for your feedback, which is much appreciated and has given me various aspects to think about.
Kate,
So I think the conversation that we had about Larry and the body was probably one of the most relevant things for me last week. It just seems like you really crossed the threshold when it comes to connecting the work to the physical form not of the painting but of the human body as we had discussed. As we went through I’m sure you could tell that the element that I kept coming back to was the cutting and that active removal, I think because of how much it does remind me a body, but also how it reminds me of Mark making. I touched on that as we wrapped up but I feel like that is where there’s this real sense of intention coming back into the work. In a way, it feels like that’s almost where I’m beginning to see an active conversation between what you were doing with your drawing and what you are now doing in the painting, but carrying over that thoughtful intent-based action into the abstract.
Weird also touched on this idea, but I think it’s worth investigating further. The sense of internal/external in the work and how those elements can get expressed in your material usage. I think about the dyeing fabric with the underlined layer seen through the weaving, the sinew, it all feels like part of the physical act on the internal. While the dyeing seems to speak to the external and its effect on the body, as we can see in thee material. You had mentioned bringing maybe those two materials and processes together, and I think that would be a brilliant way to begin thinking about how those things begin to speak to one another. Not just in having a conversation with a concept, but how the processes begin to go back-and-forth and create a new dialogue. I also believe that would add to that sense of materiality signifying flesh, and how we then physically relate to the work as a viewer.
I think there is still some seeking of concept, particularly in a final state (to some degree) that still seems in flux. So this is what I would encourage you to continue exploring. As you begin to integrate these processes and techniques with your sensitivity to material and willingness to experiment what is the conversation that begins to surface. I think especially as you branch out into studying the use of color as you talked about there could be a real sense of specific attachment and meaning being tied to each piece or grouping of pieces that would make sense. I think about Helen Frankenthaler and how there begins to almost be some corollary crossover in the use of materials but you have a much more visceral handling of paint that allows your work to speak in its own voice. This is what continues to interest me.
Lastly, I would also say that we mention it really briefly, but the act of using the intuitive process to help dictate or speak to purposeful action you can take later is really refreshing. So I think continuing to build on that is a great touch and a way to bring together that internal/external that we spoke of.
Hi Everyone
Apologies – I will upload recent studio work shortly.
Sorry it wasn’t possible for me to upload a submission this time.
Discussion
- Tracy Holtham: Sorry it wasn’t possible for me to upload a submission this time.
- Kate Martinez: Ugh so sorry you were sick…hope you are feeling better!!
- Chris Cohen: I loved this feedback, Armon. Thank you very much. It inspired me...
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