Jason Hoelscher

Incorporeal Transformations

For the first time in a long time I took a weekend for myself, and stayed in Statesboro instead of venturing out into the great beyond for school, work, play, or educational purposes and actually accomplished a number of things on my to-do list. I managed to do laundry, grocery shop, and pay attention to my two cats-all of which needed to be done badly in terms of my home-life and the general maintenance that is required on ones part for keeping their living quarters, well, livable.


Studio time has been used to great success I must say, in that I have really up'ed my game this week in terms of work completed and started. It is midterm week at Southern, which means midterms were made, given, and graded. New projects were distributed ate discussed, and this next week will consist of due dates and critiques within my classrooms. That hasn't slowed my progress in the studio though. I am at about what I will say is the 95% completion of my largest piece in the making, and intend on finishing it off later today, along with a few smaller pieces I am working on.

Last Friday was the all faculty critique day, since then my presentation has been re-examined in our class group crit Monday and Tuesday. I appreciated the honesty of my classmates and what they had to say about my current work on when they got a chance to see it in person. Even though they saw the pieces in their "half baked state" because the kiln they were misfired and nothing fully fluxed, I feel they could still see somewhat my vision. The partially developed colors and the hazy white-wash over the five pieces wasn't talked about much to my relief, and instead we discussed the forms themselves, the craftsmanship, and their maximalist aesthetic.

My pieces after the misfire of the kiln. It did not reach temperature, so the pieces are covered in a hazy white wash, which is the clear glaze that did not flux fully.

We also talked about all my major influences in the work and where I was headed. I read off to them my topics of interest, which I have mentioned multiple times in previous blog posts, but my professor Derek brought up some new points I hadn't thought of. He mentioned that I should look into the more "surface" and "face value" topics that my work references. I brought up people like Hieronymus Bosch and Bernard Palissy, who are both from the 16th century as some of my historical influences and then all the new contemporary artists I referenced in last weeks blog ATL Vs NYC. Derek told me that my work has much more potential than just what I've been touching on and that bringing in some current politics such as the new EPA regulations as of 2017. I intend on discussing the topic further with him this week during my studio visit with him on Tuesday.

Wednesday was a day full of building, and back tracking in my notebook for past references, comments, and techniques. I have been trying very hard to make it a point to expand upon all the information given to me when someone references an artists, or a topic to me. Usually I would just go and look up whatever was said to me and then read a bit on it and move on, but now I try and relate it all. Seems like it would be obvious to have done this in the first place but in all honestly I wasn't starting to connect all the bigger ideas until recently, with the help of my current theory class, Art in the Age of Networks taught by Jason Hoelscher.

This is where the title of this blog post comes into play, sorta.

In class we have been reading articles all relating to system aesthetics and the network analogy to the artworld and the artworld discourse, that we as students of art play a role in. Even though I am just scratching the surface of the theories within the artworld and how they are all inner related to one another I still find the theory itself fascinating to say the least. Every essay we read is a new brain busting explosion of ideas, and concepts that opens up a whole new set of "adjacent possibilities" in the grand scheme "effectuations" (all these quotation-ed words are new things that I am just beginning to understand, so bare with me). Things like "Incorporeal Transformations", which is Deleuze and Guattari’s philosophical account of expression and content in “The Geology of Morals” and “Postulates of Linguistic” chapters of their book A Thousand Plateaus. It is from my understanding the idea of change without actual change occurring-- just a change based off of implication, context, and language. This along with the collective assemblages of enunciation in language can then open up new understandings to art related things such as a vitrine. Which is what I am writing my argument driven paper on for the class, as well as hopefully later presenting a small version at Southerns Graduate Research Symposium, and then the full developed version of the paper at SECAC in October in their panel regarding the use of a vitrine and it's implied context.

So what does all this theory talk have to do with my artwork then? If I am getting hung up on the language of things, how does my art then relate back to it all? Well I am learning that it is all in the way you talk about things that ends up making the art work successful or not. Of course the artist statement is just a small part of the "whole" of being an artist, but how you talk about the work in general is also key. Knowing the discourse, or all the presuppositions (PSP's) about the work in question places you within the three art world ontologies, and lets your opinion actually matter. By knowing what my work is, and is not, I can explain better to my audience what is it I am making, and most importantly why. For me, the articles we have been reading, the presentations I have been preparing for is all just part of the bigger game, again, as a "whole".

Knowing the bigger context provides the content for the work. This I am learning to be fact, and I feel like my work is developing along the same speed of understanding, the more I read and write about my work.

In terms of new developments within my research practice for influencing artists, and artworks I have been back tracking and looking into old references. After spending most of my Saturday prepping for this weeks overhaul in the studio by making/doing all of the following:

  • 150 triangle test tiles for glaze tests
  • testing new materials/textures for possibly making my work "lighter in weight"
  • new glaze tests at lower temperatures at cone 04, instead of cone 6
  • developing a new gallon of casting slip slightly different from my original formula
  • making a half batch of my porcelain dunking slip, to cast more fabric
  • hunting and gathering $56.00 of ceramic plates, teacups, mugs, saucers, and bowls from goodwill
  • re-firing my "half-baked pieces" to cone 6, only to realize most of my bright colors burned out
  • finishing up my large piece to 95% completion
  • casting a whole new set of molds (about 15 different molds)
  • started on 3 new smaller pieces (two frogs, and an owl)
  • tweaked my artists statement and the specific terminology used

I really haven't looked too deeply into a new artist, because I spent so much of my time actually making in the studio along with digging into the theory of incorporeal transformations by reading additional material by Deleuze and Guattari. I needed it though. I needed to just work and try to generate my own, internal influence this week.

Sometimes I feel like even though all the reading and research I do is all beneficial to my work, finding that balance between working and reading has been hard for me. I tend to go all in on something. Either I read for hours on end, or a work. I'm not too good at doing one or the other, if it isn't obvious in my blog posts (They are much longer than the required length and cover much more than they need to.) But this is just how I am, and how I have been working since I got here (to grad school). Everything is written down, and researched to the point where I feel at least comfortable with the topics.

Fresh out the re-fire. My piece with some of the colors washed out, because of the high heat.

My professor Jeff keeps telling me that as long as I keep working the answers to what the work is about will come, in time. So I just keep putting in the hours and hope that eventually I'll get some kind of "ahh-ha" moment. I feel that I am close. I think after I sit down and actually have a solid meeting with my chair for my thesis committee, and get some of my "facts" laid out about my work I will be in an even better place than I am now.

Plans for next week are to dive into working on a new piece incorporating more negative space into the work, as well as less weight. I am also having to make new sculptures from cloth, string, fabric, and cardboard, just so I can then break them for use in my current work.  All that materials research I did two semesters ago, to make my "fabric" sculptures, has now become a part of the process for the new works seen here. I also have all my 30hr MFA Candidacy Review artwork up on my website now, so look for that final upload so you can see the jumping off point from last semester to what I am doing now.

Here's to being half way through the semester already!

Rewind and Explain

Let me begin by saying that this blog post will not be the typical flavor you may be accustomed to in terms of my weekly updates. Last week I traveled up to Manhattan with Jessamy for a weekend of gallery hopping, museum exploring, and conference attending...which prompted no blogs from either of us by the usual Sunday at 5pm deadline. Fortunately however, we asked in advance to gain the support of our instructors within the department, and were given a pass to make the blog post up at a later time. That blog post will be this right here and now. I intend to just give a recap of the places we went, the art we saw, and the overall gist of what living in the Upper West Side of Manhattan for 3 days was like.

To begin-our flight was at 6:45AM on Friday morning, meaning we woke up in Atlanta around 4AM (Jessamy at 3:30AM) to get to the airport on time. A nice flight and a bit of a nap later, we landed in the LGA airport and were officially in New York by 9:10AM. From that point on we went non-stop for the next 3 days straight. Not actually resting until we were back on the plane to Atlanta Sunday evening.

Myself in front of Les Demoiselles d'Avignon (The Young Ladies of Avignon, and originally titled The Brothel of Avignon)

Friday was a day filled with galleries in the Chelsea District of Manhattan with our professor Jason Hoelscher, a New York native of ten years. He met us at our hostel on 88th street right next to Central Park, and rode the subway down to Chelsea. For me it was like seeing the "as seen on tv" art galleries. It was all the places you hear about as a student in class, but going to the physical location really made the world seem much smaller, and more importantly-more attainable.

Some of the galleries we went to and that I grabbed a press release for are:

  • Driscoll and Babcock 525 West 25th Street
  • DC Moore Gallery 535 West 22nd Street
  • Danese Corey 511 West 22nd Street
  • Allan Stone Projects 535 West 22nd Street
  • P.P.O.W. 535 West 22nd Street 3rd Floor
  • Ron Gorchov 547 West 25th Street
  • UNIX Gallery (No address listed...very odd...but this was the Univ, of Tennessee show called Orange)
  • Nancy Margolis Gallery 523 West 25th Street
  • 303 Gallery 555 West 21st Street
  • Gladstone Gallery 515 West 24th Street
  • Paula Cooper Gallery 534 West 21st Street

At the end of the day after taking in the art for miles and miles of walking in downtown Manhattan, we went out for dinner with Jasons' friend Andy and had an overall exciting discussion about owning a gallery, working in New York, how to market yourself as an artist, and what it is like to work professionally in the art world in the city itself. Andy will be coming down to visit GSU soon, and I feel like ALL the students can benefit from his extensive knowledge and charismatic character. He was one of the nicest, coolest, and most down to earth people Jason could have introduced us to. He cared about what we had to say, was interested in our work, and really did make Jessamy and I feel totally welcomed. Plus-he can pick a pretty fantastic dinner spot in the city! Jessamy had a Cauliflower Steak and I had Grilled Baby Chicken...both of which were to die for.

Looking at big art in a big coat.

Saturday we got up and made it a museum day, as well as seeing a bit of the sites in the city. We went to:

  • The MoMA
  • The Met
  • Central Park
  • The High Line
  • Time Square
  • The Flat Iron
  • Grand Central Station
  • Wall Street
  • The 9/11 Twin Towers Memorial
  • Broadway
  • Columbus Ave
  • Empire State Building
  • 42nd Street
  • 5th Ave

....the list goes on and on...we walked everywhere, ate everything, and really just explored the city as much as possible!

Jessamy and I in front of 303 Gallery, which inspired the 303 Gallery at GSU...we think.

Sunday was our last day in the city, so we got up and mulled around Central park. Went and found a coffee shop were we met a gentleman named Matt, who actually is the cousin of a UGA student we know and will be in the Trifecta show this summer. Which again made the world so much smaller. We gave him our number and he ended up texting us and told us that he was glad we stopped in and to keep in touch. So more connections to add to the books! Like Jeff and Derek said-make friends and get connected--both of which Jessamy and I did at every moment possible. We managed to explore the Guggenheim Museum for the majority of the day and then it was back to the airport for us after walking around more of the Upper West Side of town, as well as the Upper East Side.

After a long day of walking around the city-our feet were dying. So we took advantage of the subway bench.

After a long day of walking around the city-our feet were dying. So we took advantage of the subway bench.

Honestly, I could see myself living in New York if I was in the gallery scene or was teaching at a University there. The city is a jungle, but one that I think I could manage to live in for a bit. It felt so much like Dublin, London, and Atlanta that I could easily make the transition to the city life. Just need to find the job to support the lifestyle or the gallery to represent my work. I'll let the pictures tell most of the story for the weekend however. After all, a picture is worth a thousand words and this trip can't be described fully in words. It was one for the books.

 

 

Terminals in Art

Greetings from East Alabama, to all those who follow my blog and are interested in my travels! I decided quite irrationally to leave Statesboro for the weekend and drive to my hometown of Columbus, GA which is on the opposite side of the state about three and a half hours away. However, by the time I reach my sleeping arrangements out at my mothers in Salem, AL its a long haul of four hours and fifteen minutes...including a snack/rest stop along the way. I am delaying my return to Statesboro as long as possible since it'll be back to reality come Monday morning, so for my blogging purposes this week I am writing on a sketchy portable wifi connection in the woods, and then will continue at my fav local coffee shop in downtown Columbus, Fountain City Coffee.

Julian behind the bar at Fountain City in Columbus, GA

For starters this past week has been pretty spectacular. Monday and Tuesday the first critique of the semester within the graduate department went underway and needless to say the roast was not as "hot" as I expected. I am trying out a new style of making that incorporates all my past research into one collective piece, and am attempting the defy gravity as best I can. Since January, I have used class-studio time attempting to develop my artist statement in a way that makes it reflect my work and vice versa. Needless to say this is quite difficult and is probably the single most bothersome thing to deal with as a studio artist. When a new method of making comes into play, the statement must change as well to reflect this new style which is proving irksome indeed.

Let me break it down my past semesters and what all has happened within my studio so you can understand my current studio situation a bit better.

Semester 1, I came to Southern wanting to do basically what I had left off doing in undergrad which was welding and making large sculptural works.  After I graduated undergrad in '13 I spent two years trying to get into a graduate program any and everywhere. I traveled, read abundantly, and felt like every application fee was just a waste of money because the work I was making outside the university system wasn't what I wanted to be doing. I was making mixed media paintings (I know right...me...painting...ha!) It was all I could get my hands on materials wise so I called the body of work Making it By, By Any Means Necessary, which is what is seen below.

Losing access to a studio space with tools and equipment made me harshly reassess my craft and purpose during those two years. So upon arrival at GSU, I landed in an enormous open room to myself, with limitless directions in art I could take--- I felt completely lost. The solution? Do what you know-weld, paint, sculpt. That whole semester I spent it making crap. Literally, it was some of the worst work I feel I have ever made looking back at them. They had purpose for the moment and they opened me up to new possibilities for me down the road. In terms of their depth theoretically, historically, and their placement in a contemporary art world context: what a bunch of total crap. I count them as stepping stones to what happened next.

Semester 2, I had no where to go for Christmas break so I just lived in the studio while the rest of the town vacated to bigger and better things. This is when I feel back into clay. I had spent the whole first semester working in the ceramics studio as the graduate assistant and had been making things here and there on the side, but I decided give it a shot and work in the material I had worked in a majority of my undergrad, all of high school, and even so far back as sixth grade when I took my first ceramics class. That semester I developed new techniques with clay, fabrics, and clay bodies. It really was an eye opening semester of research and development.

Semester 3, was the moment of all out turmoil. It was my 30hr review, in which I had to make work to survive, literally. This semester I pushed the processes I had worked on further and further and made more relatable work to what my artist statement had been hinting at. I was getting closer to where I am now and I really felt like the introduction of casting ceramics, as well as using wheel thrown pieces, and hand built parts made my work better. I was pulling out all the stops for my defense and in the end I passed allowing me to get to where I am now.

Semester 4, the semester of "last chance experiments" before the final year of thesis work begins. I am combining all my past experiences in the studio into one complete work. Expanding off the pedestal, onto the floor and the wall. Removing work form the obvious context and putting it into a more developed and understandable realm. I finally feel like my pieces are starting to get to the meat and potatoes of my statement, but I've got plenty more research to do. The last actual class I am taking aside from studio time and thesis work this semester, Art in Systems taught by Jason Hoelscher has opened me up to so many new things in the discourse of art. In the class we read articles, papers, magazine posts, and even some of his personal conference papers on topics spanning the art world. I really enjoy it, and believe it's making my work stronger than it's ever been, which is why I choose Hoelscher as my Thesis Chair for the next year. Having him help me push my ideas further is really going to challenge me and I look forward to the outcome.


Thats where I am at; it's been a long haul, much like my drive out here to Columbus but worth the trouble. We had an visiting artist Alicia LaChance come down from St. Louis to talk briefly about her work in the exhibition in the Contemporary Gallery at GSU, Flatbed Picture Planes as well as do individual visits with us graduate students. She was beyond inspiring, mostly because of the support she showed me throughout our talk in my studio. I showed her what I was currently working on (soon to be finished for you viewing pleasure), as well as past work and my website. We talked about future plans and what sort of things I needed to get into during my last year. The Craft Alliance Center for Art and Design was the biggest thing she turned me on to. After hearing about my residencies in Ireland, and some of my recent shows she insisted I reach out to them and make a connection. I've looking into their page and what they stand for in the arts and I have to say I am really interested in what could happen. It's one of the many things to dig into on my list of things to well, dig into!

Alicia Lachance

She also mentioned an artist to me named Kahlil Robert Irving. LaChance mentioned him mostly I believe for his use of materials, as well as his fellowships and exposure in the art world. After looking into his page and reading a few articles on him I can see why she made the connection. his website describes his work as:

Kahlil Robert Irving creates installations and sculptures that collage pattern color, complex forms, and recognizable objects relating to different signs and symbols from his cultural and social environment.
— Kahlil Irving

I intend to keep in tough with Alicia in the future just in case I am ever up in St. Louis and want to grab a coffee and a small pick me up of kind words and harsh criticism. It's always nice when a visiting artist makes a real connection with us graduate students. Makes the future of "what do we do after we graduate" so much better feeling. Aside from that, it's been a busy week of planning travel, trips, and adventures.


This summer the graduate department will be taking a trip to Germany for a study abroad extravaganza. I am in the works planning the itinerary, where we are staying, and what we are doing with my Professor and fellow grad student Jessamy and Cyndy-and what a rush it is! Kassel, Germany for the Documenta 2017. Venice, Italy for the Venice Biennale 2017. And Berlin, Germany because well it's Berlin and why not?! Thats just a small two week stent of my eight week adventure. I'll be in Ireland again for five weeks for the EC Waterford, Ireland program as the resident, and then I'm taking a personal six day trip around Europe while I wait for my Germany trip to start. Edinburg, Scotland, London, England, and Ireland all over again is on the to do list with my step mom who is coming over to take part in the shenanigans with me.

As for me I am going to enjoy the rest of my Sunday with some light reading in my Networks book for class, as well as maybe take part in some Super Bowl festivities. I don't follow football, but apparently it's kind of a big deal that some team as made it this far. In my attempts to be well rounded, I guess I should know a little something about whats happening outside my "world".

 

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