I went in to the Museum today to help Carole cut up some plastic bags that she and Austin heat fussed with an iron in order to make some textile fabric. The fabric will be used to make Columbia knock off jackets. The jackets will be sewn via bike pedal power.
We talked about craft for a few hours in the museum and later that night over dinner out on Alberta. We run up there to check out the progress of said sewing machine bike. It’s a gonna be a job for those dudes, but what an opportunity. I’d be stoked if I were them.
Craft, Art Design. I’m getting a little tired of this conversation. It’s interesting for only so long, and then I just want to make some stuff. Get in the studio and turn up the music. This frustration comes from a few different reasons. My mind is full. Full. And we are on break and i’m trying to enjoy it, but it’s been hard to rest because I’m used to working all the time. Trying to wrap my head around all three notions of making at the same time in order to make a thing or a concept is overwhelming. Any combination of the three, has enough to offer insightfully, but trying to utilize all three is cause for an episode of some sort. Possibly, that is why they have been separated in the first place. Considering all three, seems to cause doubt or insecurity at times. Having said that, electronic musicians have studied rock and roll who have studied jazz and blues… I am more interested art and craft. Design, as a perspective is interesting for about a few sentences of dialog for me. Here’s one, when compared to craft – design and craft share within the object, a haptic sense of the human relationship. Design though, has a broad sense and craft has more an intimate one. The difference is between groups of people and pairs of people. I’m not sure what art does for the notion of the tactile relationship. Possibly nothing. Speaking about objects in particular here, as I am a maker of objects. I think making is rather important right now, that is why I do it. Making is about relationships through material for others to experience physically. In the advent of the all encompassing immaterial world, i.e. the virtual; reinforcing making into our social conscience is of the utmost importance today. We must sustain the haptic memory as preservation of our species. Unfortunately, commodity gets what commodity wants, to paraphrase a Fugazi song, and the immaterial will encompass all our valued and known environment. Crafts resurgence today could be seen as a conditioning notion in understanding and accepting ambiguity through the process of making. Craft materials are inherently amorphous. They never answer the question (like design strives to); they create more intriguing questions. Awareness of this thought in craft process is the main condition in craft making. This same condition of the ambiguous, never ending limit to possibility, is also the main intrigue and condition of the immaterial environment. The virtual world is not set upon the laws of our reality based world; it is endless. Just as craft is endless. What we assume is a counter revolution to the immaterial un-haptic value system of the future, by making with our hands with craft materials, is actually a mental conditioning process for our future understanding of the improbable world.
These are my thoughts, not Carole’s. But I did share them with her. So, what’s the point of discussing art craft and design today. It’s old. If this future scenario is even the slightest bit true, then we need to get into the studio and make with awareness and meaning. And lots of it. The work made in the present will be our symbols for the future of no-thing. Carole reminded me through out the day yesterday to be honest with myself. Which I thought I knew, but I believe she was referring to an ever present awareness coupled with honesty of self. There is no time for insecurity or doubt. Own up to what you own, your back ground, and who you are all the time. Meaningfulness starts with self.
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