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By: Yvette Dubel
The work engages audiences and collaborators informing the evolution of the Cultural Fusion Art as Philosophy series. In response to the artist intention to engage alternatives to protest art it explores new territory in modern art as works result in or contribute to real world solutions addressing persistent social challenges in installations, digital, virtual, performance, visual, and new media.
# 20 [24 December 2010]
The recent state supported season of commemorations for the american civil war have been unexpectedly soul stirring. Since a predominate intention of this work is to use these ideas and feelings to advance the art work as inquiry and discovery I continue to use this blog as another avenue to talk its progress.
The piece shown to the left is a mixed media painting "The apple doesn't fall far from the tree."" In the original blog post at my Source Artist Discovery blog
"I was not happy when Webb Introduced Bill to Establish Civil War Sesquicentennial Commission but at the same time that I contemplate the political revelations, I ponder the apple as a persistent image with cultural significance. This piece marks precisely, an element in the cultural vocabulary that my work has been exploring with inclusion of feminist art inquiry." Click here to see additional artwork images of other works with this piece
# 19 [11 February 2010]
Warning: The Tower is Haunted
Ghosts of the plantations and overseersloom and creak until
replaced by Research Studios and the vision of Source ArtistsLife
no longer outsourced
Birthed above shark infested watersTamed by the slyness of Red Riding Hood's Wolfgnashing teeth swallowing greed devours
within the alone-ness
Rotten to the core
ingesting proves fatal
exposure a hazard deterring
once burned, twice shy
One love, One world
blooming ideals in a flower garden
should =no fear of poisoned decoys
waiting to render pregnant winged ones flightless
Warning: Keep away from gardens in alabaster towers
Their basement bellies
in screaming silence
conceal bloody pulps
ripped from the womb
time after time
blood trails and smudged prints are not definitive evidence of robbery
our abortions are rebranded
Selective Birthing (TM)
sanctioned by Alabaster Towers Inc.
Clipped crimson budspoorly clonedand implanted into suitably branded uteruses birthed by less suspecting
life sustaining after birthinto shark infested waters.
# 18 [17 October 2008]
U.S. and Europe, mid-1960s
Process art emphasizes the “process” of making art (rather than any predetermined composition or plan) and the concepts of change and transience….
Their interest in process and the properties of materials as determining factors has precedents in the Abstract Expressionists’ use of unconventional methods such as dripping and staining. In a ground-breaking essay and exhibition in 1968, Morris posited the notion of “anti-form” as a basis for making art works in terms of process and time rather than as static and enduring icons, which he associated with “object-type” art. Morris stressed this new art’s de-emphasis of order through nonrigid materials, pioneered by Claes Oldenburg, and the manipulation of those materials through the processes of gravity, stacking, piling, and hanging.
Where formal discussions of process art are concerned with "properties of materials" and expanding the understanding of "unconventional methods".
The adaption of Process Art to a context that is possible of engaging larger communities rather than ascribed as a luxury of the few is the objective here.
Taken several steps further <a href="http://comfusion.pbwiki.com/SoulFood">SoulFood</a> as framework for the Source Artist Process-internal. <a href="http://comfusion.pbwiki.com/Attention">Attention</a> has been paid to the survey of the <a href="http://comfusion.pbwiki.com/SoulFood:Ingredient">ingredients</a> .
This is most definitely research into the metaphysics of art applied to real life challenges.
1. Personal growth through art as process
2. Transparent model for the above as part of sustainability and community renewal
3. Research and Development into implementations of open economies as part of the above
4. Helps define intangible assets and economies that can leverage opportunities previously mentioned
5. Concept for works of art that are interconnected expressions of the above
# 17 [17 October 2008]
There are those conversations that for some mysterious reason come at the just the right time to help crystallize an idea or lesson.
Imagine, a 20 year desire takes center stage and I felt compelled to make my mark as an installation artist, rather than confining myself to my previous explorations that rarely ventured beyond the land of canvas or paper. I felt drawn to software and digital art although I knew virtually nothing about the tools of the trade.
Gradually it started to dawn on me that if I announced this intention that I was opening the door to let whoever wanted to pay attention witness my growth process as an artist. When I realized and accepted what I was setting out to do, I had not even learned to use Photoshop. Since then I have made playing with various tools to work out ideas as part of the process art concept.....
Recently I had a conversation that helped me understand you don't let what you don't have stop you from doing what you need to do. If I waited for someone else to see the value in what I have been working on then there would be nothing to communicate it now. I had to start in order to increase the potential for the goal to be realized.
Last week <a href="http://breathfusion.1hwy.com/cgi-bin/blog/view_post/473298">Dawn</a> was discussing fear in her blog. Later as an aside she explained the reason for shining the light to clear them out.
Today I had one of those conversations that allowed me to see more fully the fears I had overcome to pursue Cultural Fusion…and what the phrases, "art as philosophy" and "art with purpose" mean for me.
Tonight I have had a deepening of my experience and understanding of why process art as a core component of the installations I have been developing.
<blockquote>Process artists were involved in issues attendant to the body, random occurrences, improvisation, and the liberating qualities of nontraditional materials such as wax, felt, and latex. Using these, they created eccentric forms in erratic or irregular arrangements produced by actions such as cutting, hanging, and dropping, or organic processes such as growth, condensation, freezing, or decomposition.</blockquote>
Source: <a href="http://www.guggenheimcollection.org/site/glossary_Process_art.html">http://www.guggenheimcollection.org/site/glossary_Process_art.html</a>
What they refer to as random occurrences I see as synchronicity when they advance the work to become part of the process. In this multilateral framework these are points of Source:Convergence.
Where most work has been concerned with growth in context of plants or base perspectives, this one is concerned with growth in consciousness, self awareness and personal fulfillment on the individuals and collective/community levels.
# 16 [4 September 2008]
This is an Art:Work under construction. I decided to do it three or four segments that will be brought together in the space. Each segment will be a central part of creating spaces, framing them if you will, inside that larger venue space.
So here is the beginning minus most of the music/sound.
In addition to the issues of place and affection that sparked this piece for me, it is being shaped by my work in Art as Interface in IT.
One of the striking findings I have had during this development process is the issue of Radical Inclusion in relation to technology.
# 15 [18 May 2008]
'Cultural Fusion-Art as philosophy' is diligently applied not as a matter of concept but as a message that comes from the heart. I have been recently reminded that although that is core to the experience it is not as often the focus of these posts. What to do about that?
Well, first and foremost that is what the work is about and I have not been inspired to post the process as I thought I would when I started. However, I feel that has been for the better because then what results is all the more the embodiment of the solution which evolves from unknowing the problem.
And of all the the things that happen in between that and the solution being accepted and loved, the only one that really matters is that you pay attention to your breath and I to mine.
Once you get to the core of "I am" it is your breath... the thoughts, choices, etc that you have applied your breath to that create who you are. It is how you live your principles and values, the art you breathe life into...
One of the hardest things has been to share test runs of ideas. With paintings it feels less stressful at a certain phase than for larger conceptual stuff where I am really playing with new territory. And yet so often those are the ones I am the most excited about.
The payoff is that once I get the idea out of my head and into a form that helps someone else understand what I am trying to do, then others are able to see how to assist. This is how the projects evolve from a note on an envelope or post-it to a sketch on and on until we reach a finalized version with a the help of a fully realized Cultural Fusion Group. And I am thankful to the people who help remind me of this.
The lesson is consistently about moving beyond the fear of the unknown in whatever way it is getting in the way and the importance of asking the right questions.
The pain of only doing one kind of art, painting, is for me worse than the sting of sharing imperfect ideas and concepts. I can always keep working on them and seeing where they started the end results will be all the more meaningful. (Timetable info to come.)
"Cultural Fusion-Art as Philosophy" is a way of living because it shapes how one sees everything...it is the foundation for a commitment. Yeah, you know the one...
# 14 [18 May 2008]
The Novella for the Footsteps for Life benefit has been sent off to the printers. This means you can place your advance order now!
The story conveys a metaphoric tale. It trust you to be capable of and willing to open your mind to understand the lives and ways of thinking/being that may not be like your own.
In collaborating on this project I was touched and transformed in an unexpected way. You see, I accepted the project initially on principal of supporting the cause of assisting HIV/AIDS orphans. However in working with on the project I came to understand something far more profound…the mind of another in a way that helped me understand the human drama behind the HIV/AIDS crisis. Furthermore, it opened my eyes to the opportunity for transformation to create a brighter future by empowering women and orphans as expressed through Chinye; as well as the redemption exemplified by Tina. (two characters from the story)
I recommend this book to you because it shines an important light on the plight that too many of these children face without sentimentalizing the issues that are intertwined to make it what it is.
How do you get this book?
You order it through ufp books ;
47 Wyfold House, Wolvercote Road, London SE 2 9TJ, UK
Costs: Hard copy $16 [including postage], Download $7
Time of delivery: [UK 5days; 10days overseas from the day order is confirmed]
Stay tuned and we will provide the Amazon link ASAP. Plenty of progres s to report in next update.
# 13 [1 April 2008]
Each component of the artworks in the series operates as “layered systems processes”.
I develop systems and solutions infused with those base ingredients in the context of my Cultural Fusion series. Not all components have to be included in any given community solution. Rather this represents a menu that reflects the project proposal up until this point. This is a framework that will be uniquely celebrated and preserved according to the needs of the communities that participate in that project. For example, the central sculptural and installation themes will be interpreted for the specific site where it will be located. This customization will be seen in the materials selected as well as the scale.
As a model for interdisciplinary approaches it is evolving in an endeavor to discover how to create a culture, in which all are welcome, appreciated and supported in being their best.
Artistic Parallels that have inspired me and that I think will help put Cultural Fusion into perspective as a work of art that combines installation-performance-visual (paintings, sculpture, etc) and technology in a collaborative art series.... <a href="http://channel.creative-capital.org/project_329.html">William L. Pope's</a> work stands out to me.
Whereas William was focused on "race" Cultural Fusion is concerned with celebration of our Global Family-Humanity....interested in deconstructions of culture and history through art, rather than race or politics. Our interest is on exploration through celebration of our Global Human Family united through our breath.
Cultural Fusion will be the context for introducing an abundance based (instead of debt based) economy. It will also utilize the CF Hotel Infinity galleria concept and other event projects to create the market place for this social capital economy that leverages value of intangible assets in a radically inclusive commercial landscape. Business solutions flow from the process associated with this work and is the direct result of the Ingredients combined and recipes employed to develop them.
Furthermore, this is done in a playful context where others are engaged to share in the fun and benefits with attention to developing solutions to poverty by addressing root causes. The result is art that functions as WebAntiphon:Clear_CRM_Strategy that addresses the needs of all stakeholders.
# 12 [26 March 2008]
OK I will attempt to find some balance between sharing the shear joy of this moment and how this very conscious choice is part of the process....the personal performance that sets a tone for the collaboration.
I need to capture this for my proposals first before I publish it here but I am working on a way to share this with you who are interested in the form of a podcast series.
Being the change one wants to see in the world is why Attention matters and quality Attention, Love and Creativity have real world value. Perhaps more importantly it is becoming clearer to me where this intangible economy <a href="http://comfusion.pbwiki.com/Source:Convergence">Converges </a>with the monetary currency economy to maximize social capital.
In a recent series of conversations with Desmond Green and his wife Dawn I have been reminded of something profoundly simple. This simple thing is something that I had originally discovered through my own experience more than 15 years ago. I had never forgotten this wisdom but somehow had not considered it in this broader <a href'"http://comfusion.pbwiki.com/Source:Context">context</a>.
What is amazing about all this is that at the time I had the experience it changed my life. It has remained a resource in my peace arsenal and I have called in countless time at a personal level. Which is to say a conscious focus and shifting of attention to this transformative experience.
We have begun recording a dilogue podcasts series that captures the moments when these Elemental synergies revealed themselves as Ingredients in a just th e reicpe I was working on at that time.
# 11 [17 March 2008]
Continued from last post.....
In the U.S. the group broadly identified as the creative class, appear to constitute 30% of the workforce according to Richard Florida, but skilled labor is not the defining element in this discussion. Rather, it is the conscious pursuit of perfection, fueled by creative passion, and personal satisfaction in work undertaken that brings artistry into play, so artists will be treated as a specific niche within the “creative class.” He suggests that they are emerging as the dominant force in the economy and can already be spotted by their impact in shaping regional economies. Sustainable economic growth flows where they thrive because they will search to find communities that inspire them, and for places clinging to old models the opposite is true because businesses will sniff out the creativity they need in order to innovate. Small and midsized businesses need the group that Florida denotes as the “creative class” in his book The Rise of the Creative Class to provide the creative services that used to be provided by in-house staff in the corporate model. But it is not only businesses which need what these creative individuals have to offer.
The concept of [radical] inclusion extends this to include creative classes overlooked in Florida’s analysis.
This discussion is distinguished from previous work exploring the creative class and low cash customers by embracing traditionally low cash communities and recognizing the value of intangible assets (creativity and attention).
Yvette Dubel is inspired by her background in advocacy, community development and business consulting. She seeks to chart new territory in modern art where it becomes the foundation for interdisciplinary inquiry with the intention of addressing the global quagmire to standardize global social responsibility, and articulation of a devalued realm of value with regards to art as foundation and source.