oh maurice...

love your work.

your interviews...not so appropriate for sharing in class...

life sounds like

i'm alive i'm alive i'm alive i'm alive i'm alive i'm alive
so-hum
(i am.)

(week 4)

the studio

May 2015

is a bit of a disaster.  new studio (at the new house!) is under construction.

er, one day if it ever stops raining in austin, they can pour a slab.  upon which our house (and the new studio!) can be built.  eventually.

at least there is still a little sliver of space in the current studio to make things!

i

have heard this before:

but never really got it.  until yesterday when i taught it, and it turned into:

and then this: 

and then after a sight-seeing of clouds, some constructivist teaching (that I learned from the best that Kara Kelley Hallmark), and some courage it all turned into these:

things are good. really good.

just like Bogdan said...

Lakey the Poet

"Lots of people have been questioning me about why I don't show in a gallery. I have a whole book of reasons why I don't, but instead of the negativity I'll keep things positive and tell you why I prefer the street.

On the streets I get to share my art, passion, and philosophy indiscriminately. I speak to whoever takes the time to appreciate my sign or art. Sometimes it's homeless people that stink to high heaven, sometimes it's business professionals, sometimes it's Anarchy patched train hoppers, sometimes it's cute sorority girls, sometimes it's 5 year olds, sometimes it's grandmothers, sometimes it's cowboys, sometimes it's red bandannas and sagging blue jeans, and that's just the tip of the ice berg. I'm happy to speak to, learn from, and sale to anyone. I'll take a compliment from a crack head just as happily as I'll take one from an art professor. I love a job that will allow me to do that. This would not happen in a gallery.

When I sale an original on the streets (3 this year, literally on the streets, for $300-$400 and several less expensive) I get to appreciate the person buying my art. I know they are not buying my artwork simply because a gallery, or a curator, or a critic said it was good. They are buying it because they say it is good. I didn't need to pay a marketer to convince them it was good, I didn't need to TRY to sale it to them, I didn't need to put on airs. They're just that bad ass, self-confident, and well off. I love having customers like this.

I was born in Corpus Christi (Body of Christ) and named Joshua (Yehoshua aka Jesus) and I grew up in the church. So even though I stopped going to church almost a decade ago I've got mad respect for Jesus. I fall short in several other ways but I'm very comfortable sharing the same company as Jesus. I'm shy when it comes to talking to "normal" people. (BECAUSE YOU GUYS ARE FREAKING MEAN!) Homeless people/street kids/train hoppers whatever, I feel comfortable sparking up a conversation with. On top of that most beggars really just want someone to talk to, someone to treat them like they're a human. It's easier to hold a sign saying "give me money" than it is to hold one saying "Treat me like a human so I don't kill myself" though, so most people just dismiss them as lazy or crazy. Being on the streets makes me available to speak to any of them.

Lastly, I get to challenge stereotypes, culture, and counter culture. I proudly wear the business man's attire, sitting at the homeless man's business desk, while creating art. I suggest the business man rethink his actions, I urge the homeless to help themselves, and I show artists another path. I protest against society because I know the government will never REALLY change until society REALLY changes.

Eventually I will pursue a gallery show in Austin, TX. A massive one with 50-100 pieces of framed art, prices double or triple what they are on the street, with the whole gallery packed. Until then I'll do my street thing, travel occasionally, and maybe make exceptions to further my street cause when opportunities arise." -6.22.13

https://www.facebook.com/LakeythePoet

I Have Seen the Future

 

 Norman Bel Geddes' Costume Designs for The Miracle (1924)

 Float for a Macy's parade, Oct 12, 1926. Pencil, ink, gouache, and watercolor on paper.

"I Have Seen the Future: Norman Bel Geddes Designs America" on view at the Harry Ransom Center (UT Austin) until January 6, 2013. He designed, predicted, dreamed up, and rendered some amazing things...an artist indeed.

something

Odilon Redon "Eye Balloon" (1878)

Charcoal, 16 5/8 x 13 1/8"

peter graham

to see more of his work, go here

so much to see, so little time

(Georges Seurat)