bopart

we were their,

now i'm here

When we lose someone it happens twice, once physically and once mentally. The memories of people no longer here, diminish over time, regardless of their proximity to the self. Public art, religious icons, celebrity tributes and memorials all serve the purpose of stimulating memory and retaining events but not for the likes of you and me, you and them.

My work is a conversation, a touch, a gesture between two people. It suggests the intimacy of ordinary lives, no longer holding physical presence. It concerns an urge to remember interactions and locations and the fear of forgetting. It infers time and suggests a place

As a populous we are defined by the places where we have lived and our every day movements are directed by the signs we so blindly accept between these places of then and now. Memory is intrinsically linked to place yet the landscape genre is seldom personal

Like increments of a journey, markers for time and place, my work prods and pricks the memory, not allowing it to slumber and age. The impersonal becoming personal

DECAY THEORY-

http://www.psychologyandsociety.com/Decaytheory.html

suggest that we forget something because the memory of it fades with time. This theory would suggest that if we do not attempt to recall an event, the greater the time since the event the more likely we would be to forget the event. Thus, this theory suggests that memories are not permanent.

+++++++++

rob ryan

creates paper cut images and screen prints. his work combines romantic texts and naive folk images that evoke sentiment in the viewer. His work has received global notoriety as his designs now adorn household products and greeting cards aswell as numerous book illustrations

+++++++++

Tony Oursler

Tony Oursler has used the medium of film to create his own unique sculptural aesthetic, taking the images out of the television box and making them function in three-dimensional space. A recurrent theme in Oursler's work is the way in which visual technologies influence and even modify our social and psychological selves. His practice continuously engages with popular culture and questions how systems of mechanical reproduction, like photography, film and television, have come to dictate not only the way we see the world, but also the ways that images are constructed. Ourlser's formal vocabulary is deceptively simple, employing objects of everyday life, both high and low, that range from kitsch to folk art, and investing them with a new aesthetic meaning. A key feature of his work is the ways in which the human body comes into play. On one level the body is employed in a very literal sense through the projection of fragmented and alienating body parts onto fibreglass forms. On another level the body functions through the encounter with the work. Oursler's scenarios constantly invoke the very human wish to lose oneself in fantasy.

http://www.lissongallery.com/#/artists/tony-oursler/cv/

I'll never forget as long as I gaze upon you

january 2011

Concrete poetry
Concrete poetry or Size poetry is poetry in which the typographical arrangement of words is as important in conveying the intended effect as the conventional elements of the poem, such as meaning of words, rhythm, rhyme and so on.
It is sometimes referred to as visual poetry, a term that has evolved to have distinct meaning of its own, but which shares the distinction of being poetry in which the visual elements are as important as the text.

I LOVED YOU HERE

I LEFT YOU HERE
I LOST YOU HERE

I CAN'T

remember

here

llllll

lllllll

llllllll

llllll

lllllll

lllll

llllllll

lllllll

llll

lllllll

llllll

lllllllll

Jenny Holzer

jenny holzer is famous for her short statements, formally
called ‘truisms’. some are common myths while others
are just phrases on random subjects in the form of slogans.
the sayings include:

‘a man can't know what it's like to be a mother’,

‘men are not monogamous by nature’,

‘money creates taste’,

‘a lot of professionals are crackpots’,

‘enjoy yourself because you can't change anything anyway’,

‘freedom is a luxury not a necessity’,

‘don't place too much trust in experts’.

her medium, whether formulated as a t-shirt, as a plaque,
or as an LED sign, always is writing,
and the public dimension is integral to the delivery of her work.
starting in the late 1970s with the posters that jenny holzer
pasted on buildings in new york city, and up to her recent
xenon projections on landscape and architecture,
her practice has rivaled ignorance and violence with humor,
kindness, and moral courage.
http://www.designboom.com/contemporary/holzer.html

using location february 2011