Limited Edition Outdated Technology Sculptures in Concrete Now Available!

The Art of Ryan Seslow presents a Limited Edition Concrete Keyboard Sculpture.

This piece can be purchased directly by following this link now:: http://bit.ly/LMsy94

The Art of Ryan Seslow presents a Limited Edition Concrete Outdated Hard-drive Sculpture.

This piece can be purchased directly by following this link now:: http://bit.ly/JTewOW

The Art of Ryan Seslow presents a Limited Edition Concrete Outdated Computer Mouse Sculpture.

This piece can be purchased directly by following this link now:: http://bit.ly/L2qCr1

A Lost Drawing :: Sharing Process & Technique part 1

A Lost Drawing :: Sharing Process & Technique part 1

5/26/12 – In late 2009 after visiting several cathedrals and museums abroad, I began to re-revisit a lot of renaissance art.  I do reference such time periods in a lot of my teaching, but I usually tend to have a specific relevance in mind with the projects we are working on. Unconsciously I believe, I was seeking something else of a personal nature. In my examinations both online and through library research, I started to collect a series of renaissance images that inspired me. I very rarely feel the need to duplicate anything that already exists, but I do enjoy exercising the inspiration into other “suchness.” Leonardo da Vinci’s Last Supper had always captured my interest. I enjoy looking at the piece, and love how it holds my attention for long periods of time consistently. I took action. The drawing below is my rendering of the Last Supper from late 2009. It was drawn in 30 minutes using a black felt tip pen. I find a cubist influence in the overall abstraction of the drawing, as well as a graffiti influence in the heavy black stylized outlines. I was immediately happy with the drawing. You can click on the image to see it larger and inspect the line quality.

The Last Supper, this was the first rendering completed in a felt tip ink pen.

It was my intention at first (and it still is) to create a painting in full color using the drawing as a map to work from. I find this to be an effective method for works of all scales. I re-drew my sketch and blew it up using a black oil stick. It took about 2.5 hours to re-draw at the scale I was working in. Shortly after transferring the drawing onto the 7 foot by 10 foot piece of heavy weight large paper I removed the drawing to free up the same wall space. I had a commissioned project that needed immediate attention with a tight deadline. In the midst of the busy-ness of the months to come, I forgot about the piece altogether. About a year and a half later it had come to my attention that this was the case, and much to my dismay, I was not able to easily locate the large drawing. For the sake of storage, I tend to roll up several drawings on paper and un-stretched paintings that are sizes that exceed 36 x 48 inches. I am usually diligent with labeling the large rolls of finished and incomplete works, but in this case, it slipped away. The large rolls free stand on the floor like pillars. Currently in the studio there are 12 -14 of these rolls. They usually hold between 40 – 75 pieces per roll. I had temporarily lost interest in my search for the piece. It has taught me a lesson about being even more careful and impeccable with labeling both works in process and stored complete pieces. I have retained that from this contrasting circumstance, but yet something good continued to evolve.

The final rendered image after using the “live trace” feature in Adobe Illustrator.

The image above has taken over this process, and it has reactivated my excitement for the piece which will now turn into a series of various techniques. I archive all of my works in progress by taking sketch photographs. These are usually low resolution images that I can easily access between computers and external hard drives. I stumbled upon the image last week and have since rejoined my process, only this time with a new approach. The image above (click on it to inspect it) has taken on a new life. When I re-discovered the image I made a print out of the drawing and re-scanned it back into adobe photoshop to play with the contrast. I love what technology can do when it is synthesized with the manual process. I saved the file and brought it into adobe illustrator. Using the “live trace” feature, the image quality had become even more fluid, giving it a vector and more graphic look. I feel that it compliments the original drawing. This is a technique that can be used for creating high-resolution silk screen printing image quality. Having the drawing in this format will allow for me to do a series of rough color studies both in photshop, as well as manually in water-color and colored pencil before I redraw it at the larger size. (ill make a series of black and white print outs for that.) So, in actuality losing the original large drawing was not such a bad thing. I may not have had the interest to work on it in a variety of ways had I directly completed the painting. One of my inspirations is the late great Buckminster Fuller. Bucky didn’t believe in mistakes, only learning and new-found awareness’ through one’s experiments and actions. I love that. I will re-draw the piece at the larger size, but in a variety of ways, and complete the paintings over the course of the next few months. I will share my process and progress in part two of this post.

Original link:: http://wp.me/p2SFO-Hx

What to do when you’re ART is NOT selling or moving.

5/20/2012:: What to do when you’re ART is NOT selling or moving:

OK, you are super productive, your ART is amazing, and you have total confidence in yourself and your work…BUT, it’s not selling at the moment, in fact it has not moved in months now! No sales, or showing opportunities. You see it, its collecting dust, its piling up, its getting in the way of creating new work, you are stacking other things on top of it and no longer know where or what is there… Guess what? You have got yourself a GOOD problem. I know, I know, How so? First of all, you get to continue your education on resourcefulness and stretch that mind of yours. As an artist you are already a creative surge of problem solving energy! You solve complex compositional issues with space, color, scale and content, so why not transcend this faculty of yours onto the game board of your physical life? These skills do not only exist on canvas, paper, in stone, plaster or on the digital monitor, they are with in, and it is time to activate them into a new context. Follow me now, where do you begin?

First: ADMIT IT, be honest with yourself, and stop sulking, blaming someone or something, or teetering the boarder line of “giving up art.” Just know that there is a new challenge upon you. Be grateful for it, and take the challenge. Persistence wins, dedication wins, trust wins.

Make a new commitment to yourself. Create a fresh outlook and start your new mission here. “Think global but start local.”

Of course we all want the world to see our work, and who we are. This is a natural human desire manifesting itself as the infinite energy of human self-expression! This is a process, I’m not saying that you cannot hit it big over night, but keeping realistic goals help you build a new formula. You would be surprised as to how many other artists there are in your current town, weather its a big city or a small one horse town, there are many other artists just like you out there seeking to connect. Take New Action.

1. What other Artists do you like? – Artists like to promote other artists. Did you know that? If not, WHY NOT? What other artists both living and dead inspire you and your work? Make yourself a list, overtime; you will see that this list grows. Share the info with other people to find similarities and contrasts. Like attracts like.

2. Try your local phone book or search engine. Simply type into a search engine: “your town name / artist” or “your town and state / artist /artist organizations.” Find out who the locals are, what they are doing, and how you can connect with them. You would be surprised as to what kind of support they have, the festivals they put on, and who they may know to help you and your specific style of work. Artists like to meet other artists. Art enthusiasts like to meet artists and help them as well. It’s time to get social.

3. Contact your local Public Library! Most public libraries have a gallery space and or more than one area where they display the works of local artists. Call up or visit and ask who is in charge of the exhibitions. Contact this person, introduce yourself and see what opportunities and programs are available. I am certain that you will make contacts and be offered opportunities and resources.

4. Contact the local Public & Private secondary schools in your area. Ask them about the community art organizations and courses that take place as a part of the adult education programs. Again, you will make contacts and find resources. This is also good practice. As artists we need to constantly research and assert ourselves! Most high school art departments are always looking for guest artists to come in and demo or make a presentation to their students. These gigs will even pay you money for your time.

5. Contact the Local Colleges and Universities – You can contact the ART departments directly! Every art department, or college / university libraries all have gallery spaces where they display the works of their students, local, and outside artists. Ask them about the campus community art organizations and courses that take place as a part of the adult education programs. Again, you will make contacts and find resources.

6. Ask local businesses for support. You would be surprised as to how many people will say yes to help you once you ASK THEM. Once again, this practice of asking for help will pay off. Get pro active, go out there and ASK. I have witnessed several colleagues sell their works and obtain shows through local businesses that generate a lot of everyday traffic. Sometimes just having your work placed into a space or area that involves high volumes of traffic will lead to contacts and sales.

7. Collaborate with other artists. Reach out to artists who have styles that compliment your own. Approach the artist(s) with an idea or concept that will benefit and challenge all in involved. This could be in an exhibition form, or a series of works such as a limited edition of silk screen prints, collage paintings or a curating venture.

8. The INTERNET - Yes, that’s right. You can build local connections and beyond from your presence online. Where can people find your work online? Do you have a blog? Are you active on social media?

These are just a few suggestions. I will revise this post and add more information over time.

Link to the original post:: http://wp.me/p2SFO-GX

New Works in May 2012 / Studio

5/17/12- I’m in the process of preparing for a series of new shows this coming fall. This body of work seems to be more thematic and narrative than usual. As you may know by now, I love the use of repetition, especially when an image excites me. I enjoying simultaneously working 2-dimensionally and 3-dimensionally. This helps my thought process expand and consider the 3-dimensional space where the works will be installed. In a recent post I announced that my relief installation pieces were now expanding off of the wall and into the space directly (more free-standing forms integrated with the wall pieces.) This is the first installation process image of how these pieces below have made the 3-dimensional transition. I do feel that they can stand alone as collage based paintings, but I’m more interested in taking a risk with these.

As an artist I’m interested in building  a narrative relationship between the content and the materials. The images below are frozen ice positives cast in colored water. They too can stand by themselves, but I am now photographing the sculptures to use as images for silkscreen. I want to print the images and also integrate them into this series above. I’m also casting the molds in concrete and plaster this weekend. If the prototypes hold up, I will then make an edition in porcelain. These pieces will work well on pedestals as well on the floor with in the same space. This body of work is an extension that falls under the “technophemera” series. It is a term that I coined about a year ago. You can visit the whole series as it grows here::  http://www.flickr.com/photos/rmsmovement/sets/72157626835050092/

Original link :: http://wp.me/p2SFO-Gw

June 2012 – CO-ACTIVATION – 2 man show with Jeffrey Allen Price!

Painting by Jeffrey Allen Price

June 2012 -CO-ACTIVATION. Following the success of Energetic Fusion, Jeffrey Allen Price and I will be presenting another community based collaborative, interactive installation during the month of June 2012 at the Second Avenue Firehouse Gallery in Bayshore, NY.   

We will be creating a new exhibition from scratch. We will start with blank walls and work in the space over the duration of the month. Live, site on scene works will be created. The community and visitors to the space are invited to take part in the creation of the show during the Art Labs & Open Gallery hours on these dates-

CO-Activate Fusion Art Lab Dates:: Saturday June 9th -1pm – 6pm :: Saturday June 16th – 1pm – 6pm :: Thursday June 21st – 5pm -9pm & Friday June 29th – 5pm -9pm. Use ours, or bring your own materials to draw, paint or collage onto the walls!

A Closing Reception will be held Saturday, June 30 from 2-4pm.

Spread the word!

Original link :: http://wp.me/p2SFO-G5

Forms Change

5/2/12 – Forms Change.

#drawings like this one happen fast. They are immediate and take about 3 minutes to execute. Ill make 1 a day on most days of the week. ( now multiple that by 20 years… ) Much like a graffiti writer will execute his or her tag, these drawings are fast, fluid and well practiced. This line based stylization stems from years of tagging. I have written the same tags since 1984 (Ill update that story in a new blog post soon), the point is, drawings like this have evolved from one form to another. They started as letter characters and over a 20 year period they have morphed into figurative characters. The characters now even have facial expressions. My colleague and collaborator Jeffrey Allen Price pointed this out to me about a week ago, its a milestone of development that happened right under my nose. Moments like that remind me that this is what I love so much about the creative process, and being an artist. #gratitude #creativity

Link to the original post:: http://wp.me/p2SFO-FX

A Visual Manipulation of Your Senses.

“A Visual Manipulation of Your Senses” is a short video art piece that was created a few years ago. It’s a single channel video meant to loop over and over again, (but you as the viewer in this context must manually replay the video in order to watch it multiple times over the internet.) In the past, I have used the video as an additional component in several of my large scale installations. In this context, a looping DVD would automatically play on a flat screen monitor that was hidden within the installation fragments. The video was created from several still images of my drawings and paintings. This was mostly based on a colorful series of works on paper. I used imovie filters to create the grainy effects, nothing fancy. The mirror effect metaphorically communicates two sides to everything that we perceive. We have our own perception, and the opposite one, which could be the perception or interpretation of another person, or a part of ourselves that we do not see. Sometimes things that we need to see or understand are right in front of us, but somehow, it takes us a long time to see it. I suppose, we all have lessons to learn, hence the bumps in the road. The colors, forms, and shapes represent the infinite amount of creativity that we experience on this planet. The elements of art remind us that we are connected to everything and everyone in so many ways. This idea makes us omnipotent. The video provokes the viewer by letting them know that they are participating in an experiment. One that has the ability to change their old behaviors. At this moment the viewer resonates with what is indeed an unwanted personal behavior. The video claims to remove the old behavioral patterns by simply watching. Perhaps this experience is enough catalyst to actually induce one to take action. A change of heart, or a decision to change may be activated.

Light Projection Installation Ephemera.

Projection Installation.

Studies with Light, Space, & Ephemera, this installation challenges the context of my living space.  I enjoy having the control over what happens in this space with my work. Technology expands with or with out us, that is kind of scary and exciting at the same time. It makes me think about what my direct relationship to technology is. Especially since I am interested in using it as an art medium. It seems more and more like an experiential perception of our own sub-personalities. Perhaps some that we do not know very well yet? I love technology, and how I am continuing to find more ephemeral uses of it to generate new art. This installation lasted for about 2 hours. I documented it by taking several photos, and some video, but now it seems to be transcending itself into sharable data. I had been playing with the idea for a while, but I had not completed a solid body of enough work to potentially show. Just recently my good friend and colleague Winn Rea and I had a conversation about some of the projects that we will doing with our 3D/4D Design students at LIU’s CW Post campus this spring semester 2012. The course emphasizes the principles of 3D design and studio techniques in sculpture. We have since added a 4D aspect to the class using video as a means to experiment, understand,  and learn how to use “time” as a means of communication. The students resonate with this as most of them are tech savvy. Winn came up with a great idea to have the students create the time based video works by incorporating objects to project the works directly onto.  I will share the results while they are in progress and when they have been completed. I will also participate in this project myself.

What I learned from Melting Ice.

Ice projecting the potentials of time….

I learned something valuable about time and ideas from melting ice. Yes, time and melting ice in relationship to our ideas. OK, so I think in metaphors, it’s a creative way for me to connect to things and retain them.  Are you wasting time with creative ideas that you have? Putting off your ideas for tomorrow, or the weekend, or how about when you have time over the summer? Take action on your ideas my friends. Don’t let creative ideas or energies leave your first impressions or intuitions. If you do, they just may get slurped up into the great abyss of your everyday busyness. Not only that, someone else will take action on a variation of your idea. We all share the same energies on this planet, so believe me, creative ideas will find the right person who is the most ready to take action on them. If you fail to take action, it may just be gone forever, fallen victim to the ego’s plan to distract you. The ego is very good at this! You may later find your same idea has been implemented by someone else in another state, country or on another continent only to find the success it is achieving as a work of art, a business, or service. I have jumped out of bed at 4:00 AM on many nights just to take action on ideas that have hit me in dreams. I know that this may seem extreme, but what follows after the action has been taken will solidify your understanding and need to develop that something. This “something” is always charged with excitement. Inspiration comes and goes just as fast as it arrives, so immediacy is necessary. Plus, this is a great habit to form. It is a form of practice for the brain as we do co-create our behaviors. I do feel that if initial action is taken at “that nudge”, it may be a day later, or even a week or two, but the next piece of the puzzle will then present itself, and you will say YES to it when it arrives because you are literally waiting for it. Action taking can be executed in several small ways. You may simply write down your inspired energy, idea, or nudge. This solidifies your awareness of it, it has been transferred from the non physical, to the physical and tangible. You may call or talk to and friend, spouse, or colleague to discuss your idea, or you may create a blog post about it! The creative process really excites me. The fact that we can create tangible things out of ideas, feelings, inner nudges, or philosophies ( those things are all non physical) seems like magic. I never take that for granted. Instead I’m aware of that. You are your creative potential, you are your memory banks of infinite ideas. Allow them in, and follow their lead! The image above was created all in about 2 minutes time. An artist was removing a show from the gallery space in the building where I teach at LIU here in NY. Upon walking into the building, I noticed these fantastic icicles hanging very low off of the buildings roof. I simply reached up and grabbed one to inspect it, and carried it with me inside. I was intrigued. I noticed an empty shelf like pedestal and placed the icicle onto it. The whole gallery was now empty, except for this organic element, it was now transcending its energy. Its transformation could be measured only with a quick photograph, and with in 20 minutes it was no longer solid, it had become fluid knowing that it will return back to no-thing. It was gone. I found a great metaphor in this. Later, when I looked at the photo, it became a reminder of the action that I took so I keep the image handy. So, if and when I find myself needing a reminder to take action on things, before they melt away, this image has become one of my best resources. Time moves on with our with out our participation, I chose awareness.

Insights on Form & Awareness

I stand before something ancient today, the structure is aesthetically beautiful, but I have a hard time getting my head around it. There are several other structures like it, some older, some younger. There are also several super modern structures next to it too, architectural masterpieces from yesterday and today, they live together simultaneously in the three dimensional world of form that we perceive. It is amazing and thought provoking. The simplicity and complexity of forms. The can never die, only transform themselves into more. They can simplify and de-familiarize us to their existence. The contexts of the content also grabs our attention as our energies and thoughts solidify into ideas. These are creative ideas, ideas worth taking action on, because they are expressive. When you SEE something that causes you to stop, and your world then stands still, acknowledge this as an awareness of creative importance. If you do that, I promise that you will have more of these eureka moments. It does some practice however, but that practice with awareness will lead to ideas, creative ideas that will force you to take action. Something tangible will come out of that. Share your results!

 

A relationship with Immediacy, the Unconscious, & Drawing

This drawing took about 2 hours to execute. It’s a nice reminder for me. It’s yet another tangible example of how immediate drawing is. In this case, the immediate “action” of drawing. I didn’t have a plan, idea or concept to work from. I simply wanted to draw. My focus was on the subject and thought of drawing. Sometimes we have to get out of our own way and just let our unconscious express itself. More often than not, it is the unconscious that is trying to get our attention. It has something important to share, but often, we dismiss it, or second guess it. Why? I am really enjoying this drawing. I’m also enjoying getting out of my own way again. In reflection, the drawing has induced an old series of memories. For years I had fought a love hate relationship of being perceived as an ” illustrator.” Especially back when I was in undergraduate college. I cant image why I would create such a limiting belief back then? But at the time, I was younger and insecure as the competition back then seemed intense. I used to confuse infinite creativity as competition. Pretty funny to think about that now, but at the time it seemed real. I always wanted to be known simply as an artist, I never wanted a specialty, or an artistic title, and I still don’t. I know better now of course, perceived titles are little boxes we create for ourselves. We can hang out in them for a while and learn something ( which is a good healthy thing when we GET the lesson ) or we can linger there forever thinking the outside world has held us in there…ouch.  This unconscious drawing tells me that I still want to work from my imagination more often. I’m repressing desires, unexplored content, and subject matter. I’m going to let go of my familiar rules when contemplating a body of new works. I seem to have a desire to create more fictional characters, compose them into unrealistic situations, and also revisit some of my old techniques. I’m excited and grateful to be a part of the process. Sharing it seems to also help.

NEW Ryan Seslow Limited Edition Screen Prints Available.

 NEW Ryan Seslow Limited Edition Screen Prints Available Get a Print & a T-shirt now:: http://www.newyawkteeshirts.com/collections/all

Ryan Seslow Limited Edition Screen Print from 2011. There are only 25 prints in this very limited edition "NEWYAWK". Each print is hand pulled, signed, numbered, and dated 2011. The prints are safely shipped flat. Each piece is printed on Canson rives acid-free paper. The printed size is 11x14 inches. Total price including shipping = $60.00.

Ryan Seslow Limited Edition Screen Print from 2011. There are only 25 prints in this very limited edition "NEWYAWK". Each print is hand pulled, signed, numbered, and dated 2011. The prints are safely shipped flat. Each piece is printed on Canson rives acid-free paper. The printed size is 11x14 inches. Total price including shipping = $60.00.

Limited Edition Screen Print from 2010. There are only 8 prints in this very limited edition "Light Blue Series". Each print is hand pulled, signed, numbered, and dated 2010. The prints are safely shipped flat. Each piece is printed on Strathmore acid-free drawing paper. The size is 11 x 14 inches. Color variations will also be printed through out the year. Total price includies shipping = $60.00

 Get a Print & T-shirt now:: 

http://www.newyawkteeshirts.com/collections/all

Also available are the classic NEWYAWK t-shirts ::

 http://www.newyawkteeshirts.com/collections/all 

Chalk Board Bombing – A New Image Archive.

This gallery contains 1 photos.

http://www.flickr.com/photos/rmsmovement/sets/72157627925471274

JAZZ HEAD

JAZZ HEAD

Originally uploaded by The ART of Ryan Seslow.

This is an illustration that I created in 2008 based upon Cannonball Adderley feat. Miles Davis on “Autumn Leaves”. After listening to the piece over the course of several years, this is what I created to communicate just how the piece continues to move me. The colorful illustration has since been revised and transcended into several other pieces of art. Listen to the piece here:: http://www.youtube.com/watch?v=PPHtQn1t1n4

Painting, 5 Forms.

Painting, 5 Forms.

Originally uploaded by The ART of Ryan Seslow.

A new composition study based on 4 individual paintings. This will be a large series of pieces executed in oil stick, oil paint, and acrylic paint. The size has yet to be determined because I will make several variations. The original paintings, a series of 4, sold to a collector in southern New Jersey in 2009. I liked the paintings so much that it was hard to let them go. After the sale, I began playing with the individual images by turning them into drawings, stencils, and silk screens. I am still working out ideas with the printed matter, but I will make a return back to a more traditional approach as I feel the forms themselves are very strong. Mixed with vibrant day glow like color, the eye flows easily around the exterior contour lines while bouncing from color to color. These images are based on a series drawings that I did in 2006. The drawings are taken from a series of clay reduction sculptures that were fired and never glazed. The sculptures were created horizontally, but I find that they work better as vertical forms tuned flat.

On drawing and seeing, more.

On drawing and seeing, more.

Originally uploaded by The ART of Ryan Seslow.

The image above is a drawing based on observed ideas constructed from an empty bleach bottle, and what else it can be. A picture is a “something” upon a flat surface. A drawing is a matter of certain marks that can be executed onto a piece of paper, and how one will translate those intricacies. The great, or not so great, yet still visual or imagined impressions of lines and tones is the business with which our technique is concerned, or perhaps abandoned through the repetition of poor habits. The ease, as it will become easier with practice, yes, practice, with which an artist will be able to remember an impression in a form from which he can work, will depend upon his power to analyze both an inner and outer vision in this technical sense. The more one knows about what I call “the anatomy of picture making”, will show how certain forms produce certain effects. It will be easier for him to carry away a visual memory of his subject that will stand by him during the creative, or tedious hours of his labors at the picture. The more one knows and understands the expressive power of lines and tones, the more easily he or she will be able to observe the vital things in nature that convey the impression one wishes to memorize. The more that you see..the more you will see.

Imagination, is derived from the word, Imagine.

Imagination, is derived from the word, Imagine.

Originally uploaded by The ART of Ryan Seslow.

Imagination, is derived from the word Imagine. This means, the faculty or power of the mind “to actually imagine”. To imagine, means to form an image in the mind. An “image” means, a likeness, a picture, a representation, a copy, or an appearance. More briefly, IMAGINATION IS SCIENTIFICALLY DEFINED AS THE FACULTY OF FORMING AN IMAGE.

Taken from the Technophemera frozen keyboard series 2010

Reflecting on HALA – Hillside Arts & Letters Academy Logo Design & A Screen Printing Workshop

Reflecting on HALA – Hillside Arts & Letters Academy Logo Design & A Screen Printing Workshop. June 2011

HALA Official School Logo

In late 2010 I had completed a commission for the Hillside Arts & Letters Academy, a newly installed NYCDOE high school here in Jamaica, NY. The high school’s principal Matt Ritter was not only the creator of the school itself, but also a good friend from our own high school days in the early 90′s. It did not surprise me that Matt was now running this school. He was always a great inspiration to me. He’s an amazing guitarist, singer, songwriter, and one of the main reasons why I myself picked up the instrument in 2001. Eleven years later, and I am still playing. We ran into each other “by chance” one evening after not being in touch for about 4 or 5 years, he mentioned that he wanted to talk about an up and coming project. We exchanged updated info. When he contacted me with the news about the new high school program, I was happy to hear about it. The mission statement of the high school states:  “Hillside Arts and Letters Academy is to offer students a challenging college preparatory curriculum with a special emphasis on visual arts, music, and writing. Students at Hillside Arts become self-directed and resourceful learners with a deep appreciation for the arts as not only a source of enjoyment and personal growth but also as a path to understanding and changing society. We prepare students to graduate as independent thinkers who are academically well-rounded, creative, and especially well-prepared to innovate and collaborate.” I was really inspired once again by my old friend Matt. He proceeded to extend an opportunity to me. He wanted me to design a fresh new logo for the school. I went to meet with him a few times to discuss the development of the project, and after a few weeks, and a few revisions, the image above was born and put right into action.  The image above is the official school logo. We were both really happy with the design. It is vibrant, energetic, and suggests a sense of visual movement. Creative movement that is. The story does not end here, so please read on.

Official Logo & the Winning Student Designs

Take a look at HALA’s :: Official Site - http://hillsidearts.org

hala screen print workshop 6/2011

HALA, as it is called for short, is very close to where I teach 2-d design at CUNY York College. Matt invited me back a few months later to meet some of the students. They were not only ambitious, spontaneous and witty, they had ideas, and plenty of them! While I was working on the logo, I mentioned to Matt that we could easily create a silk screen of the main logo to promote such things like t-shirts, flyers, or posters to promote the new image. It’s an effect way to make multiples in an efficiently creative way. He agreed and passed the idea along to his students and colleagues. They liked it. We scheduled a new meeting with the student organizers and Matt Yellin, who is also a teacher at HALA, we got right to work. The students decided that they wanted to create a design contest for the first series of screens that would be created. This meant that all interested students would have the opportunity to submit. Colorful t-shirts of as well as shorts would be the destination for the designs. An order for a healthy stock was arranged. Printed garments such as t-shirts and athletic shorts are an effective way to promote the screen printing craft, while displaying the creativity and school spirit. Matt asked me to also include two designs of my own. One being the schools official logo, which creates a familiar branded image, as well as another image that would unify each of the schools academic disciplines.  Students had a few weeks to create and submit their designs. After a selection process was completed, we proceeded to create the screens. The silk screens were prepared using photo emulsion and an ultra violet light box to develop and burn the images onto the screen. This is a popular method of creating silk screens as all of the original image quality is retained. The students were happy with the preparation results.

We talked about placement and registration to align our screens before we printed. We went over tips and demonstrations on how to use the squeegee. We learned how to avoid the overuse of paint, while keeping ones hands clean and free of paint exposure as the shirts need to be handled after each print. The students also learned that the acrylic paint dries extremely quickly in the screen and printing must be maintained at a consistent pace. The students worked well under the technical immediacy of the new skill that they learned. We were all really impressed with their teamwork and diligence. Most of all, everyone had a lot of fun.

students worked together, taking turns by holding and placing the screens, while the other printed.

The 1st official HALA silk screen printing work shop was held in late June of 2011. Several members of the student body participated and worked together in small teams. Over 60 shirts and several pairs of shorts were printed during the workshop. Matt Yellin and Bethany Trust helped facilitate the workshop. They also took several photos as documentation, including the images in this post. (Thanks so much)

Group photo

How to transplant your Energy into others through Story-telling.

How to transplant your Energy into others through Story-telling.

"The Idea" painting by Ryan Seslow 2011

I love to tell stories, it is a very important ingredient in my teaching practice.  I have discovered this in my reflections, but only recently. It took a few pages of unedited allowance writing to discover this. If you know me personally, you may not believe that, but I do feel this way, it just hit me. I had to answer a few questions that I prepared for myself. One of which was: “What do I love most about teaching?” The answers, one: the feeling that I have before, during and after I prepare content and explain the information to people. Two: the feeling that I have before, during and after I make a connection with another person as they are learning something new. Three: the feeling that I have before, during and after watching another person demonstrate what they have learned as they personalize and create their own style. Four: the feeling that I have before, during and after I learn from that same person through our exchange. Five: the feeling that I have as I am humbled by the experience as a whole. These interactions are based on a series of stories that are told along the way. I love to tell a story. Stories fit in well as I present factual or even subjective content, or if I talk about a show I recently attended, or a new art form or artist that I am inspired by, or simply by the magic of life itself. It feels fantastic. In process, I am enthusiastic, energetic, and happy. This radiates out of me. I am aware of this, and this self-awareness seems to expand. This affects my physiology in a very positive way. I feel alive, I’m aware of how good the mind, body and souls feels, all working together in harmony. Why wouldn’t I share that? So, what is a story, and how can they be used to help people learn, or just help others in general? These are two questions that I wrote down immediately after I answer the first one about teaching. A story is essentially a work of art, It is an ancient, very beautiful art form. Story telling requires one to build a technique and style, and then stay true to that style while adapting to your listeners. The intuition has fun with this, and it will surprise you quite often. Stories have the power to create and carry the imagination. A subject that is NOT taught in any school, anywhere on this planet, well not yet, I am working on that. Stories, and the way that you tell them help others create mental visions and images. They are scenes and situations of potentiality being transferred through the energy and enthusiasm of the teller. As an educator in the field of art, this is my greatest asset. I didn’t realize, when I sought out on my journey to become a college art professor, that I was in training to become a super communicator, and a router of information exchange and facilitation. More importantly, I have learned, the importance is in HOW that information is being transferred and communicated so that each person will retain it, and hopefully apply it. I have had some really good practice with this idea of story telling as a means of inspired communication. Not only with students, but with colleagues, administrators and fellow human beings in general. I have learned so much teaching 6-8 different courses each semester simultaneously between four colleges since the fall of 2004. I average about 70-90 students each 15 week semester, and another 30-45 over the summers. I have been taking notes about my interactions with people, and how they learn! I am in the business of dealing with real people, online and offline. I love that. I am happy to, and will share my experiences on this blog, but back to the subject at hand. You can teach people interesting facts about  anything by telling stories, one’s own personal stories, experiences and discoveries, or by sharing the stories of others that have and do inspire you. Question, how often do you share information that inspires you? Sometimes? Never? Here’s why you should, you can open another person’s eyes to color and processes, natural and synthetic contrasts, one’s unquestioned beliefs, and life changes for the better. A story can awaken something in someone, something that they did not know existed inside of them. That story can be the catalyst for someone to take action! Motivated, energetic action. Story telling is an art, it is also a form of entertainment because of the effects it leaves on others. Not only do stories create mental images, but they evoke FEELINGS! A strong mental image + an inspired feeling = action, inspiration and most of all creativity. Your human potential is written all over that. Much like a play, or through a film, a stories immediate purpose is intended for the pleasure of the person listening. This pleasure fuels the formula stated above. When one’s eyes meet with the gaze of the listener naturally and constantly, expression responds through natural rapport, sometimes even with little effort, the connection can be immediate.  The story teller who has given the listener pleasure has added a fact, idea, feeling, or philosophy to the content of their minds.  Something has been added to the essence of their souls, a doorway opens, a light switch become visible. Learning through a story telling approach gives others an exercise opportunity for the emotional muscles of the brain and the human spirit. This is a wonderful habit for one to form. I promise you that this will open up new windows to the imagination. The imagination is another resource with which I will be writing a lot more about here, I view it to be our greatest human asset. As an educator, and a humble service to other fellow human beings, it is my intention to inspire and enrich spiritual experiences in others through learning, to stimulate and induce healthy reflective exercises with measurable results. This essay is one half of a two part post. Part two will re-cap some of the reflections and break down the step by step process of using a story telling strategy as a teaching method.

Chris Guillebeau is a fantastic writer and author who I have recently discovered on twitter. This lead to me subscribing to his blog, downloading his manifesto and resonating with his inspiring material. He is a fantastic story teller and educator on lifestyle design. It has fueled and induced me into taking inspired action to create this blog post. Thank you Chris! Please by all means take a look at his blog here:: http://chrisguillebeau.com/3×5/

Keeping a digital image idea archive is useful, here’s why.

ryan seslow

Keyboard cast in paper pulp / 2011 limited edition

Keeping a digital image idea archive is useful, here’s why.

Artists and creatives, how do you keep track of all of your ideas? How do you record and document your works in progress? What about a concise record of all of your completed works? How about all of those endless brainstorms and idea fragments that are so quickly lost if you do not record them in some way shape or form? Technology rules here in late 2011. Yes, keeping a sketch book is still a great idea, and we all should continue to do that, but has the context changed of what a sketchbook is? I believe it has evolved. I think that its upkeep requires a bit more responsibility. Perhaps it is an integration of both the traditional drawn and written technique now synthesized with a mobile technology based device (digital camera, camera phone, ipad, laptop, smart phone, ect…) If you’re a working artist, and or a super passionate creative person who makes tangible things, chances are that you have filled an endless number of sketch books in your time. Depending on your age perhaps, but I’m sure we have all faced the issue of “Where the heck is that great concept sketch I did last summer?” So, you begin your quest, tirelessly searching through volumes of past sketchbooks, and random papers not finding what you need. Perhaps you even became sidetracked by several other conflicting ideas from 1999… Maybe you like this exercise in conscious intentional distraction? If so, great. I tend to like a bit more immediacy and efficiency with my research time. We are all busy, time management is key for anyone living in today’s busy world. Chances are, you also have other life related responsibilities besides your art/art making passion. Its time to create a digital image archive for yourself. Label it properly by breaking it into folders that easily categorize your disciplines and subjects. Everything and everyone is becoming more and more mobile. The beauty of technology allows for us to work and access “our stuff” from anywhere anytime. I personally love using sites and application like Flickr, Dropbox, icloud, iphoto, and even google docs has had an upgrade to a presentation layout based style for image spreads. I am also a teaching artist, so for me, having access to my idea image archive is crucial. The services listed above are just a few but they certainly do the trick. You will need your own digital camera for the sake of documentation. I know that camera phones have come a long way over the last 5 years, and they will work for immediate capture sketches, but for the sake of high resolution, something better will be necessary. Even if it is for photographing your hand drawn sketches. I work on a mac operating system so I import my images into iphoto. This application easily allows for me to spread myself out a bit over the web. Back up and sharing accessibility is key here. I also have a few external hard drives for extended back up, but I also love using flickr. If you do not know about flickr, you can check it out here http://www.flickr.com it’s free to sign up, and it gives you plenty of free space for a while. Over time, and if you post and upload on a frequent basis, you will have to upgrade to a pro/unlimited account. This is perfect for the small yearly subscription fee. I have made a ton of friends and contacts using flickr. Frequent visitors and other artists comment and send me feedback on a regular basis. Flickr allows for me to show my works in progress. This helps me trace and retain my process. I use these images for creating my lesson plans, and also my next bodies of work. By participating and responding to other people’s images builds the relationships. Flickr allows for one to also post images directly to your wordpress, twitter, tumblr, and facebook pages. Feedback on my works while they are in progress continues to remind me that each idea that I have has the potential to expand. We may see it one way, but others will perceive it a whole other way. I have realized, one must participate in the expanding dialog with his or her own work and ideas. Images tell stories, and can become the formulas for what happens next. We can do this by getting to know our ideas/images. By spending time with them, and expanding the ways that we may receive “viewers”. The world has become your gallery, if you will. When was the last time you cruised through your images of works and ideas from 5 years ago? Ten years ago? Or last year? Do you have that kind of management of your ideas and works? Revisiting your images of older works and the current works in progress will help you extend those ideas. You will add to them or make important critical choices to regain clarity of their direction. I promise you this. Our own ideas and concepts have the infinite potential to be revised and further developed. This is a multidisciplinary faculty that every artist and creative should desire. You can view my flickr archive here: http://ww.flickr.com/photos/rmsmovement I’m in the process of writing another post that focuses purely on an exercise that can be done with your image archives. Keep in touch, and please share your own experiences here.

Artist Profile:: Nung-Hsin Hu

Artist Profile:: Nung-Hsin Hu

I met Nung in 2008 while she was working on her MFA at LIU’s CW Post campus. Right from the start I admired her conceptual video art works and prolific large scale sculptures. In 2009 I was invited to create a Video Art program for the Streaming Festival’s Special programs archive. Nung’s work was featured in the international exhibition.

BIO:: Nung-Hsin Hu was born 1981 in Taiwan. In 2006 she moved to New York to pursue her MFA in Fine Arts at Long Island University.  Since she earned her MFA in 2009, Hu primarily has been working in sculpture, installation, and video. She has exhibited in the U.S. and abroad. In 2008, Hu was honored  with the Outstanding Student Achievement in Contemporary Sculpture from the International Sculpture Center. In 2010 she received the Jamaica Center for Arts and Learning’s Van Lier Fellowship, Taipei Artist Village’s Boundary-Break-Through Project Grant, the NYFA-Mentoring Program for Immigrant Artists and the fellowships from the I-Park residency, CT, as well as the Casa das Caldeiras residency in São Paulo, Brazil.

Nung is currently coordinating the video group “Traffic Jam.” A three month  community based video project residency in the Taipei Arts village, Treasure Hill from Jan 9, 2012- April 8, 2012
 TRAFFICJAM is a project-based collective that unites international artists in an urban environment. Intercultural collaboration and communication through artistic engagement is one of the goals for the group. Sharing a common interest in the medium of experimental video, the group was created to collaborate and to inspire one another while exchanging ideas through the creative process. These artists had previously collaborated through the Exquisite Corpse Video Project since 2008. The difference between these projects are that TRAFFICJAM #1 Sao Paolo, Brazil and TRAFFICJAM #2 Taipei, Taiwan are based on the artists interacting among themselves in a real urban space to create the final work, while previous projects were based on swapping files online and meeting for discussions on virtual forums.
TRAFFICJAM #1 was the first edition of the project that intends to migrate internationally collecting experiences for new work. TRAFFICJAM #2 has been schedule in Taipei, Taiwan for 2012 where a group of thirteen artists from 8 different countries will gather to develop their own work, (Brazil, UK, Canada, Germany, Taiwan, Colombia, Slovenia and Sweden). TRAFFICJAM #2 will be based at Treasure Hill Artist Village (THAV) for three months (January till March 2012). THAV is an unique historical village part of Artist-in-Residence Taipei (AIR Taipei). It provides a platform for a diverse cultural collaboration across artistic disciplines encouraging exchanges between International and Taiwanese professional artists.Through an intense period of residency, living and working together, each artist will create a video in response to the host city. The final works will reflect personal perspectives on a wide range of social, cultural and political issues that the artists have encountered while in Treasure Hill village and Taipei city. At the end of the three months residency , the artists will hold a final exhibition at the Cross Gallery at Treasure Hill Artist Village sharing their unique experiences with the local communities and public. The show will include TRAFFICJAM # 2 videos as well as the students video works from
the workshops.
Here is the Traffic Jam website (the previous project in Sao Paulo)
Traffic Jam is the transformation from the previous group ECVP-
Nung’s personal website ::  http://nunghsinhu.com
View the original link to this post:: http://wp.me/p2SFO-xV

Something about Method and Procedure

As an artist, I have learned that method and procedure must never cease. Our general knowledge of materiality can go deeper than we may have ever known, but we have to allow for it. I spend more than 10 hours each week acquiring and experimenting with various materials. Experimentation through materiality is precisely how I developed a comprehensive understanding of the materials that I use for each body of work. Through these exercises in the lab (studio) I have discovered how the body is constantly engaged in an action and gesture process. This awareness would become my understanding of why I am so interested in space, and what can and does happen with-in a physical space. This idea alone is a powerful one. I didn’t understand this when I first began studying my own reasoning for why I make art. I have discovered that one has to engage themselves into this thought process first. We must learn how to see the world as art, as a whole, and then deconstruct it. I became conscious that I myself was “a 3D object” just as all human beings are. The only difference between human objects versus any other object is that we are the most intelligent. I am conducting ongoing experiments through the use of various materials to become further acquainted with them. I want to stretch their limits, and find their relationships to other things that may lead me to new skills and knowledge. At the same time I record how each material affects my physical body, and the physical space the actions occur with in. To communicate with process, I feel that one must use their entire being to understand its awareness and control of content. I understand that content is not always going to be joyous, it will sometimes bring out qualities that are of a much more complex nature. It is this exact contrast that helps me retain things.

My Installation Works Explained, Part 1

Over stimulation as Energy:
I’m over-stimulated, I admit it. I also admit that I love that part of myself. My case of over-stimulation, which was once claimed, be to be “hyperactive” seems to have transcended itself nicely. I cant blame the doctors of the 1970′s who’s misdiagnosis of my early symptoms of radical creativity were in fact something else…I think I will send them a image from this show, as well as some of the other images in this series. I’m interested in fragments as a subject matter and also as a muse for exploring content. Fragmentation has a strong association with the context of things being modular. Meaning, many parts come together or function together to make up a whole. My installations are linear sequences.  They are based on a time-line of repeated mental images. I think about this a lot. Since our birth, we have been exposed to thousands upon thousands of images. Not only the physical images that we see, but print and digital media as well. Much like our thoughts, many of the things that we see day in and day out are repetitive. We participate in this unconsciously for the most part. I do believe that we can alter this if we want to, but it takes work, and that is a whole other blog post. We participate in the recording process of the images that we are exposed to, and we can even attach meaning and emotions to them. Why do clowns still make you feel terrified, and you are 43 years old?  Think about where this comes from, and how that images and feeling has stayed with you. I’m now in my late thirties, and I feel that I have a good solid inner index of content stored. Of course we can’t recall everything that has crossed our eyes, but what does that internal index of stored images look like? This is part one of my installation concept definition; to create large scale stored mental collages. I create visual environments to exercise that energy. They are much bigger than we are physically. I hold or have held onto a lot of these specific images in the works for reasons both known and unknown. Modern day advertising also plays a role. They figured out how to scientifically make an image and a feeling stick to people through their ads. It enters our physiology and our consciousness triggers, and it propels us into action. We buy things as a result. I find that fascinating. Sometimes I select images to work with purely due to their aesthetic qualities, or for their traditional principles. Line, color, shape, texture, and value have always captured my continued interest. While other images appear to be objective at first glance, their placement in the installation suggests otherwise. My visual influences appear in my work. My love for bright colors, forms, 1980′s cartoons, video games, and graffiti have transcended over two decades in my work. The installation set up process does not have a set plan. The works are laid out on the floor. The pieces, parts, forms, and colors become more and more relative as I gaze at them. Something happens, a physical urgency sets in, a creative impulse to compose and arrange attacks me. As the installation process develops I feel as if I am liberating the imagination and the unconscious. The stored images and their stories that live inside of me finally have an outlet, a place to create a dialog, and reveal themselves to others. The works take on their own life, a narrative begins, and the viewer must dictate it’s meaning or tell the story. I have cultivated this into a new faculty and a habitual ritual with my imagination.  The result of this process executes a large-scale mental collage of the past, present and future of my human experience.  The piece will exercise a multidisciplinary form of drawing, painting, printmaking, sculpture, and video art. For those who come to see the works in person, the installations are there to show you that you are your creative potential; it is bigger than you are physically and mentally. That is the metaphor. It lives with in each and every one of us. It is my intention to make other human beings take creative action as a result of experiencing my work.

My next installation based exhibition will be at the Chapman Gallery in New Rochelle, NY (right outside NYC) It is a two man show with NYC artist @Borbay. The show will be installed this week, and it opens on January 22nd 2012. Hope to see you there! See the details here::

Link to the Sneak Peek::

http://www.flickr.com/photos/rmsmovement/6698839895/#/

New Installation @ The Br. Chapman Gallery January 2012

Something New to Dictate the Habitual.

Video Still Frame from “Ongoing 3″

Something New to Dictate the Habitual.

We all love the fact that we need to control things. It’s a part of our
human make up. Every so often, I feel that it is important to let ourselves
“go a bit” as a result of that. Go, meaning, allow for something new to dictate to the habitual way that we do things. In this case, the way that we make our art, and create our works in general on a regular basis. I believe that all human beings are creators. We are all artists with in context.  This is a
wonderful energy for self discovery, healing, re-inventing the self, and
simply learning. Experimentation is the key. You can choose any medium that you are working in really. I have chosen an older digital video art film in this case. The image above is based on a film that I made in 2005. “Installation ongoing part 3.”  The emphasis of this experimental film is on its narrative and composition, but also on its technique development. Technique meaning,
while I was developing new ways of creating the piece, I
would document and record the process itself. I would then leave those parts unedited for a later critique (to stay out of my own way). I want to make assessments and ask critical questions from the existing works as well as with new pieces while they are in process. I have learned that we should not underestimate the power of our older works or past ideas. They can become quite handy at a later date.  The image above is a video film still held on pause. I let the unedited captured video play and then pause it on various scenes and compositions. These are the ones that I find visually intriguing, aesthetically beautiful, or simply thought-provoking. While I have the single frame in pause mode, I take various snap shots of the images. I then print them out onto transparency paper. The transparencies are then re-projected (with an overhead projector) directly onto the monitor. I have used something that has an
existing still frame while still on pause, and I have worked with moving images as well. Both have created fantastic manual filters. At this point using a variety of
capturing mediums ( digital still cameras, digital video camera, 16 mm
cameras, and various new and outdated camera phones ) I continue to take a series of pictures and videos. This creates a layering effect with various grains and textures. This process allows for many new presentation options. Some of these images are printed, some of them can be re-manipulated with photo-shop, some of them are cut up and placed into collage based arrangements of two-dimensional works on paper. Some of them
will be turned into still frames and displayed with the edited films themselves.   The list goes on, I’m sure that you get the idea. How can you expand your habitual process’ to learn and discover something new? Take some time to reassess what you have been doing. The end of the year is perfect for this. Take stock! Take a look into your index of past works, find the diamonds in the rough, the ones that are waiting to be cultivated by your imagination. You can watch the film here :
www.youtube.com/watch?v=cENdpN_zZyQ

Symbols+Icons+Avatars+Codes=Branding

Symbols+Icons+Avatars+Codes=Branding Ourselves

Consciously and unconsciously we are branding ourselves! This is the fact
of the matter, as I perceive of course. Indeed, some people are doing this
intentionally with much energy and enthusiasm. Others are becoming
aware as the process unfolds. I am one of those people. It did not register at
first because I didn’t plan on anything other than sharing my art and interests. As I think more about it though, hmmm. As an educator, I was hoping that others would learn from my web presence and examples, and in return I would learn from what others were sharing. Seemed simple enough? An exchange of honest use value. It seems to me that the synthesis of our multiple social media networks synced up with our mobile technology devices of choice make us                  ”portable global brands.” Yes, you already knew that, or did you? Wow, that’s a lot of power,  do you like the sound of that? I do. Example: JOHNNY SOMEBODY: THE PORTABLE GLOBAL BRAND!”  A fantastic outlet for self expression, business, marketing, and network building that continues to redefine the ongoing definition of “social media networking business such-ness.” What you say matters. What you put out onto the web matters. It will reach other people, and not just a mere few people. Social media and the use of the web can give one the reach of thousands, and while that escalates, some will begin reaching millions. Incomprehensible? Yeah, really. So, How do you want to influence others? What kind of use value do you have to offer that can inspire and induce others into creative action taking? For some, it is doing what one normally does. The norm today can simply be the awareness that you are a content curator. How cool does that sound? The introduction of Flipboard has certainly proven this idea. It is incredibly “sticky”. I would love to hear Malcolm Gladwell‘s take on flipboard, and it’s stickiness.  In my case it is my ART. I’m simply an artist that wants to share and continue learning from YOU all. I’m not a complex artist. The illustration attached to this post is based on that eureka moment. You know those moments, when you get still for a few minutes and come to this energetic realization. I noticed this as I began to realize what windows are open in my browser simultaneously…. all the time. Right now along with several articles (up to 10) from my “networks” I see, twitter feeds, facebook, flickr, wordpress, tumblr, and gmail windows open… they are breathing, buzzing with energy, awaiting my next command so that they can assist and synthesize my personal formula (and keep it all documented in a nice chronological order.) So, the eureka moment came through a reflection period. As most artists
will often review their past works along with what they are working on, I
like to do this once or twice a week. Reflect and review what I have written,
posted, created and so forth. The illustration above is a fictional brand
packaging recycled from the past. Isn’t this what we do as human beings? We transform existing energy into something new.  It comes directly through my imagination and my unconscious (which absorbs anything and everything weather you want to or not) , this is my release. I’m on a serious mission… having FUN with branding myself.

Thoughts on Content, Materiality, & Video Art.

Various Video Art Still Frames.

The choices made upon selecting content and materiality are endless, profound and simply brilliant! Especially when a breakthrough has been made, materials communicate meaning. In most cases, quite literally, our conscious mind is very objective when it discovers objects, and or what they resemble. The various types of materials I have been synthesizing through my artistic examinations are fragments of : wood, metal, steel, polyester / fiber glass resins, clay, textiles & fabric, canvas, paper, paint, ink, plastic, plaster, various wire types, video, media technology, soil, outdoor environments, found items, recyclables, time, space, and human beings. Every physical thing has form. Form is a fragmented term that I feel serves as many things. I identify myself as a 3 dimensional form with-in a reality of 3 dimensional forms. Form is a way that my process imposes upon my ideas to exercise them. Form is an infinite vastness that can never run dry of its supply, when linked to formal art terms, my studies experiment with mass, volume, contour line, texture, structures, space and time. The ongoing examination of ”the artist as the art” induced the process of frequent documentation. I began using film and video about 10 years ago. The medium itself always seemed to occupy me. I carefully began a chronological index of narratives. Unedited ramblings from the stream of consciousness if you will. The art of allowing. My intention began as simply documenting the perception of self as Art. I had no idea that it would evolve so fast. The use of the camera allows for me to see more from another perspective. A perspective that was intentionally created. An identity that was forged out of repetitive ideas, visions and intuitions. One that is just outside the watcher. On a semi-daily basis I will capture aspects and highlights of the day. I experiment with video as a means to fuse what I now call “modular films.” Meaning, many parts come together over time to make up the whole. The whole keeps evolving. And that is how the muse and character: ”Professor Universe” was created. I am micro-testing the interdependent behaviors of the earth-bound ego in relationship to the creative human potential. These behaviors function in contrast to current events, and social-issues as I perceive them. At this point the films are very important for extending the infancy of ideas as they evolve into larger plans. The ongoing project is a verbally narrated one. The films a fragment of my art making process. I am able to utilize an aesthetic role with experimental forms. People respond to the Internet, television, and movies, they identify with the viewing shape of the rectangle . I am currently using this form to work with. I feel that my non film and video work also has a very narrative quality. The use of everyday objects reflect the usage of time. Scripted verbal narratives can activate and induce a physical or emotional character with in you, one that you may not know yet. This is where Professor Universe is emerging from. A line is the edge of a contour that travels the boundaries of shapes, objects, and masses. Line itself is a thin mass; a moving essence of controlled friction applied to a surface. For many years I struggled with the illusion of line as only two-dimensional. To break free of this concept with the limited usage of such a profound simplicity I had to challenge myself to a great degree. Time is linear, it can be measured. The potential of who and what occurs with in this selected measurement is incredibly powerful. A film or video art work is a time based motion related work of art.

I have created a specific page here on my blog where you can screen a selected series of my video art and experimental narrative films :: http://theongoingrms.wordpress.com/understanding-professor-universe

About Color and Painting. Defining the Style building process.

4/15/12

This painting above is almost complete. I posted this progress image onto my flickr page in late January of 2012. I will soon post the final piece, as well as the 6 others that have evolved as a result. This blog post has taken several different directions already. I love that about process in general, one idea expands another, and before you know it, you are onto several other topics. Let me start here, and try to pull this together as we read on. This post itself is a work in progress. I have always been drawn to color. My understanding and consistent evolution with color has been through painting, taking photos, and simply looking at things. I do mean really looking at things by critically observing them. I questioned myself a long time ago about this, How long do I really look at things? Do I see what is really there, or just a perceived impression? Which leads me to “think” I understand that “something” as it exists. Hmmm? I always provoke and ask my introduction to drawing and 2D design students this same question. “When was the last time that you really looked at something by actually observing it for more than 2 minutes?” Followed by an exercise, I have them observe their own hands for 5 minutes, and then create blind contour line studies to help this process along. To be truthful, even with my own personal extended exercises and observation sessions, I find that I still want to also abstract representational things. Most of my experimentation with paint has been through frequent practice with acrylic, oil, aerosol, and enamels. My surface studies vary on canvas, paper, metal, aluminum, plastics, concrete, and recyclable containers. The more recent use of colored papers and collage expanded from this experimentation directly. I have discovered that layers can become relief like, and I have always enjoyed the potentials of that, hence my ongoing adventures with collage. Here you can view a set dedicated to this almost entirely http://www.flickr.com/photos/rmsmovement/sets/72157594510901703 Using simple geometric shapes and forms, I spend extended amounts of time developing my knowledge of color by composing with these same shapes.  I also like to arrange variations of form through freshly created hybrid shapes. Layering them by color values, hues and tint fragments to create contrast, compliments, or contradictions with in the works. My intentions were to develop mixing techniques that would allow me to work fast. I like immediacy as an artist, this I know of my process. I am a high production artist. Repetition is something that I understand. Using the sphere shape as a starting point I could make multiples very fast. The use of repetition can change a large space and create a 2 dimensional illusion, this idea lead me to execute a series of installations of flat color with-in three-dimensional spaces. The use of color forces me to make decisions, and this is exactly what stimulates and excites me the most as an artist. Color will always affect a viewer’s eye at first gaze, it may intensify what is being experienced or it may distract the eye causing us to discover problematic and conflicting contrasts. Either way, we have to react. I want to expand upon that by creating both representational and non-representational art. The paintings above and below are inspired by a lot more things than I can list at this time, but 1980′s and 90′s graffiti have always heavily influenced my painting work. The fluidity, color, variety, and movement of writers like Dondi White, Seen, Sento, Zephyr, Lady Pink, & Lee Quinones have and continue to make lasting impressions on me. The works found here in the images below have been completed over the last 4-6 years. These were commissioned works by private collectors. I feel that they are good examples of the evolution of the stylization that I continue to enjoy developing. The works vary in size range. The smallest works being 48″X64″ to 9 feet by 11 feet. It is my intention to archive the process and piece together where it came from, and where it is going. I will be adding additional information about these pieces as they all have unique interactions between myself and the collectors whom had commissioned the works.

Link to the original post:: http://wp.me/p2SFO-Ah

Art work of the Month:: January 2012 “Drawing Transcends”

"Drawing Trancsends"


Art Work of the Month :: January 2012

Happy New Year!
“Drawing Transcends”
Imprints are left in many ways, more than I can say here in one breathe. We are all participants in the process of creating them. The action of Drawing has always been my muse for expressive immediacy. Dancing may be faster, or even the spoken word, but I prefer drawing. Drawing gives me the ability to be communicative in several fast linear gestures. I can control them, or not. I can save them, or not. I can add to them, or not. As an artist, I want to leave temporary marks upon the world, marks that are as ephemeral as our physical lives. Like all things, even the context of my drawings will change. I created this piece as a metaphor for this idea. Its a sculpture. It is tangible. It can rest on a flat plane vertically or horizontally, but you, the viewer will not experience the work this way. You can only see it as an image. A flat two dimensional image. I have solidified an outdated computer mouse onto an etch-a-sketch ( a time transcending device ). These are two instruments that I have created drawings with. They are extensions of the traditional mediums that I learned to draw with. I liked that idea. I have not retained any of my etch-a-sketch drawings over time, they were all shaken away so that new drawings could be made. The power to decide when to this always intrigued me, even as a child. At the time, I digital cameras were not yet in existence, so I didn’t record these drawings. This was OK. I was more interested in making new drawings. I suppose I could purchase another etch-a-sketch, and do something with new technology, and perhaps I may. I will only reflect on that for now. The outdated mouse is another reminder of how all synthetic things evolve, both in function and design. Think of all of the countless invisible lines that you have created while using your computer’s mouse…oh, you never thought of it that way? Those lines are all gone. I painted the piece all one color. This unifies the piece as one whole form. They are no longer separate entities. Our perceptions, interpretations, and overall sense of awareness is powerful. It continues to redefine the way that I look and participate in the world.

This piece has been submitted as a part of The Fabelist’s Imprint Festival in London, 1/27/12 more info here:: http://www.thefabelist.com/imprint-festival

VIDEO>forward :: April 2012 :: Official info

Curated by Ryan Seslow

Watch the program here now -

http://www.streamingfestival.com/program/2012/video_forward.php#Room-17

About the program

VIDEO>forward is an examination of the Interrelationships of Video Art, Performance, Short Film, Documentary, & Experimental Process Based Art. The purpose of this exhibition is to survey, expose, and raise the awareness of motion related art through the medium of video. The works exhibited have all been created using a digital video camera and computer based editing software as a means of expression and communication.

Artists

Gaia
Winn Rea
Nung-Hsin Hu
Jeffrey Allen Price
 Karen Mae Black
Patrick J. Aievoli
Craig Langlois
Vienne Chan
Lori Salmeri
BORBAY

The exhibition will run as a part of:

The Streaming Festival’s Program Archive:: April 2012 http://www.streamingfestival.com/program/programs-2011.php

http://www.streamingfestival.com

Official Trailer::

original link :: http://wp.me/p2SFO-Cs

Milt the Keyboardian Cartoon

Milt the Keyboardian Cartoon

Milt the Keyboardian. A Cartoon By Ryan Seslow 2012.

Art work of the Month:: February 2012

The images in this series above and below are based on my frequent confrontations with mass, form, and reduction. This technique, carving and subtracting mass away from a solid volume has forever found a place in my desire to create sculpture and 3-Dimensional art forms. Like most high school students being exposed to new art making techniques, this one stood out for me. When I entered my undergraduate BFA program, although not majoring in sculpture at the time, (my MFA is in sculpture) I did maximize the sculpture courses that were available. I reduced pretty much every solid material I could get my hands on. Reductions were taken away from clay, plaster, wax, foam, limestone, alabaster, and ice. I still enjoy and continue to work with these materials. I am drawn to clay because I can create with an immediate and urgent energy. Results are fast and measurable. Simply put, it is my intention to create and discover new forms. This is indeed the case with this series presented here. The whole process took about 3 hours. Two hours are dedicated to the reduction of mass and creation of negative spaces. Discovering complimentary positive and negative shapes help my eye travel through the piece. A continuous linear flow is important to me. As I discover secondary contours I tend to repeat the most interesting ones. This is a purely aesthetic process. I spend time observing the piece as it develops. Once the sculpture is completed I spend about 2 hours rendering drawings of the form. The forms in these drawings later become content for my paintings.

ENERGETIC FUSION :: An Exhibition by Jeffrey Allen Price & Ryan Seslow


::ENERGETIC FUSION::

“The Community Collaboration of an Energetic Fusion.”
Welcome, you are now a participant. It is our intention to activate the creative awareness of the CUNY York College Community. You may ask, what is your creative human potential? What can we learn from creatively collaborating with each other? What do we see and retain when there is a public display and means for collaborative creative expression? We, the artists have installed the beginning of an ongoing energetic exhibition that transcends its energy by inducing and inviting our York college students, faculty, community members and invited guests to participate in the development of the works.

That means you, reading this.

We love the contrast of all things natural versus those of synthetic nature. We would like to do something organic with our process. Process and participation are the key words. The gallery space is now filled with a diverse array of multidisciplinary works that interweave through both of our artistic processes and practices as artists. It is a collaborative survey and micro testing of sorts, but we don’t want it to stop just there. We want to induce you, and our community to participate by adding your reactions to the installation.
What do you see? What do you feel? What do you think? Add that! How may this happen? What exactly will happen? Again, This fusion of pre-installed works now provokes you as the viewer, it asks you to question the experience. It will challenge you to assess the effectiveness of non-verbal communication.
The works included and created in the gallery over our 5-week exhibition time display tangible examples of the multidisciplinary potentials of drawing, painting, sculpture, printmaking, collage, photography, video, and audio. The campus art gallery is the perfect space for this happening. It is a busy location, where people can easily see what is being created, and changing on a regular basis. This will raise awareness about “how ART in a public site specific space” can shape and help raise the overall level of human awareness, non-verbal communication, and a means of the overall creative potential. It also evokes an ENERGY to take creative action. So please join us by making a drawing, taking a photo, creating a sculpture, etching a print, enacting a performance or any other form of expression induced by your experience in the space, and then add it to the installation. We are as curious to see and experience the outcome as we hope you are. Please join us for one of the Energetic Fusion Art labs! Materials will be provided, but you can also bring your own!

Jeffrey Allen Price & Ryan Seslow

The EF art labs were a great success, we held labs on the following dates.

Lab#1- Friday March 30th – 12pm -4pm -

Featuring the York College Creative Ensemble,

Tom Zlabinger, director, Make art to the Music.

Lab#2 - Tuesday April 3rd – 12pm – 2pm – Club hours, Featuring the York College Creative Ensemble

Lab#3 - Friday April 20th- 12pm – 4pm

Lab#3.5 - Tuesday April 24rd – 12pm – 2pm – Club hours, Featuring the York College Creative Ensemble

Lab#4 - Friday April 27th- 12pm – 4pm

Check out the blog of Jeffrey Allen Price here:: http://www.jeffreyallenprice.com

Check out the EF flickr image galleries here::

http://www.flickr.com/photos/rmsmovement/sets/72157629768679229

http://www.flickr.com/photos/50723930@N03/sets/72157629862466927

Read a great article, and see a video about the show courtesy of our York College Colleague Michael Branson Smith ::

http://www.michaelbransonsmith.net/blog/2012/04/22/come-in-make-art

A process video from week #1

http://www.youtube.com/watch?v=ma2mjjY470o


York College :: 94 – 20 Guy R. Brewer Blvd, Jamaica, NY 11451 :: 718-262-2000
The York College Art Gallery :: Academic Core Building

A new two man exhibition by Jeffrey Allen Price & Ryan Seslow.  March 26th – May 3rd 2012, CUNY York College Art Gallery, Jamaica NY.

Original link:: http://wp.me/p2SFO-Dm


 

Cement Keyboard Street Installation Project 2012

Cement Keyboard Street Installation Project 2012

A New Cement Keyboard Street Installation has hit NYC in early 2012. Technology is ephemeral, and maybe more so than we think. We are co-dependent on it, and feel a certain kind of discomfort when it is not accessible (Have you ever, or recently lost your mobile phone, or had your internet access turned off?) This installation project is a metaphor for that, while examining several ways to extend and communicate with its energy. The keyboards are cast in a variety mediums, but in this specific installment, it is cement. The molds are then fractured. They are not usable in any way, yet the viewer resonates with the works as they pass them. In a strange and not so sensual way keyboards unify us as human beings, and the context of this unification is only in its infancy.

Original Post:: http://wp.me/p2SFO-Dt

@ryanseslow “Tuned in 2″ Moss Library, Norway, Sneak Peek

@ryanseslow “Tuned in 2″ – Moss Library, Norway, Sneak Peek

I am participating in the 2nd Twitter art exhibition in Moss, Norway for charity ( #twitterartexhibitTwo ). This is a great cause created by fellow artist and friend David Sandum – @DavidSandumArt  Read the full information about the project here – http://bit.ly/zmHVwj
Two figures pose for a snap shot, as so it seems. The two characters are screen printed onto a digitized image of a large tree. The tree has been turned horizontally to suggest a change in the movement of things today. Sudden and excessive bursts of technology based changes have altered our lives, with little choice but to adapt we scramble to keep up. I mean this in the most positive of ways. We have become unified by TVs, Monitors, Keyboards and mobile devices. In the image, a young television has grown up into a strapping self sufficient flat screen monitor. Ready and willing, forward and onward, forever evolving as they archive and synthesize their data. Our relationships reach to places further and wider than we may have imagined even 10 years ago. I have been induced by technology. It has caused a new shift in my consciousness. I’m sure that I’m not alone. With gratitude and enthusiasm, this I must express.

Link to the original post:: http://wp.me/p2SFO-DQ

Ongoing 2D design project. A Shared Idea, Inspiration, Transcendence & Evolution.

4/17/2012 :: Ongoing 2D design project.

A Shared Idea, Inspiration, Transcendence, Evolution, & Collaboration.

The images below are the result of two single images. Pablo Picasso and Kurt Schwitters are two of my favorite artists (Andy Warhol as well, but we will get back to him below) I wanted to use them as inspiration for this series of collage works. These are the first few pieces from my experiments.  Each piece is sized at 8.5″X11″. The desire to create a body of works like this came from my interest in a series of works created by the students of professor Javier Cambre. Cambre is a friend and one of my colleagues at CUNY QCC. I later re-designed my interpretation of the works to fit into a project for myself, as well as my students. I have been teaching 2D design at the college level for 7.5 years. It is a course that I love to teach. I also enjoy intuitively expanding the course content and the class projects. The course allows for students to learn manual techniques, as well as basic graphic design skills. This gives us a lot of options as we focus on understanding the elements of art, and the principles of design. During my classes this week and next, I’m going to ask the class to collaborate on a series of these works by choosing and adding only one element from the original image, and then pass it onto the next person. My classes host between 16 – 22 students per class so the outcomes will generate excitement and serious variation! Stay tuned for that.  Are you interested in trying out the project for yourself? The instructions are below this image. By all means, please share your results.

Kurt Picasso Re-arrangement series by Ryan Seslow

Re-Organizing a single Composition (Portrait Image)
In this project you will be re-organizing a representational image into a subjective one. You may work from the image provided (a portrait of Picasso or Kurt Schwitters, just google their names) or you may work from the image of your choice. The image selected must be black and white, and it must be a portrait. (The image should also be a high enough resolution to re-copy and scale to larger or smaller sizes, but then again, if you wish to include texture as an aspect of the work, sky is the limit) You will need at least 6-10 copies of your image, you can make multiples by using a photo copy machine or a printer.
Final output::
You will be re-creating 3 subjective variations of your portrait. The sizes of your re-organized images should not be smaller than 9×11, so please calculate this into your measurements. They can be as large as you would like.
Process::
1. Manipulate the existing image by cutting out several parts and pieces (this includes the individual facial features, head, back round, neck, & clothing areas) You may use your scissors or x-acto knife to cut out your forms.
2. Measure and cut 3 blank picture planes. ( 9×11 is the smallest size that you can use, so you may consider 3 size variations)
3. Lay out the cut pieces in front of you. You will then re-organize and compose your pieces into 3 different compositions. All 3 of the final works must be non- representational and or subjective images.
4. Scan or photograph your final outcomes. Post a copy here, or e-mail them to me using the address on this blog. I will post the works here on an ongoing basis.

Andy Picasso Re-arrangement series by Ryan Seslow

The transcendence to Video Art has evolved to this place, so far…

Collaborating with Javier Cambre, a new series develops

4/22/12 :: Collaborating with Javier Cambre, a new series develops.

I am happy to announce the development of a new series of works between my colleague, fellow artist Javier Cambre and myself. I first discovered Javier’s work back in 2006. We were both showing as a part of the CUNY Queensborough Community College Faculty Exhibition. Javier showed a video installation titled “One Plus One”, ( you can view the info here – http://javiercambre.com/section/49819_ONE_PLUS_ONE.html ) and I had installed a large scale wall relief. ( see it here :: http://www.flickr.com/photos/rmsmovement/272209456/in/set-929193/) I felt that Javier’s video had an emphasis on movement, gesture and composition. The works were cinematic, yet stretched the traditional aspects of the medium. Much like my own work, through the principles of design I too seek new ways to emphasize movement, variety, and compositional variations. I like to do this through the fragmenting of several inter related parts. I felt even back then, if Javier and I were to collaborate, it would be an energetic approach to creating a contrasting series of exciting works. Javier and I are both multidisciplinary artists. We both work in a variety of mediums, sometimes integrating them together, and sometimes simply showing them by discipline. The image above is the first piece in progress.  Javier first arranged a series of some of his silver prints from a trip to Brazil. He spread them on the floor of his loft and re-photographed them. He later printed that as a photograph of photographs.  He handed this image to me, and so the process began. I love the content and the high black and white contrast. I see it as a composite of events, stories, and narratives. I felt very much impulsed to add to the stories. I too added characters to the narrative, except mine are fictional, cartoon like, and from several different time periods. I knew I could create a visual tension by layering my screen prints directly on top of the images. This would also give the piece a layered effect and a sense of dimension. It creates the illusion of a foreground, yet the images still seem to float weightlessly. We will be posting our process as the works expand. Check out Javier Cambre’s site here:: http://javiercambre.com

Link to the original post :: http://wp.me/p2SFO-FG

POP ART Portraits!

Follow this link to Order :: http://bit.ly/LV8XDz

About POP ART Portraits::

Colorful POP ART Portraits are custom made for you by artist Ryan Seslow.   POP ART Portraits are unique original works of art created from the photo that you select and provide. Each painting is energetically created by hand, one at a time by the artist in his NY studio.

POP ART Portraits are for everyone! Do you have a photo of someone that you love and admire? How about your pet? Do you have a great memory captured in a photograph? Turn it into a colorful POP ART painting! The portraits are purchased by and for parents, grandparents, children, family, friends, art lovers, and You!  A POP ART Portrait makes a lasting gift. They are instant conversation pieces that bring a bright colorful energy to any room.

::Sizes and Pricing::

You can select the size and price of your painting by using the drop down menu in the upper right hand corner of the sales page ( http://bit.ly/LV8XDz ) POP ART Portraits come in three standard sizes:: 11″x14″ @$200.00 :: 18″x24″ @$300.00 & 22″x28″ @$400.00 but custom sizes and quotes are also available upon request. We can work in scales very large or very small. Please inquire if you have any questions. Packing and Shipping are included in the prices above.

Your POP ART Portrait is created with materials of the highest quality. The finished canvas comes wired and ready to hang. The finished piece does not require a frame.

***The ordering process is simple, follow this link to start the process*** http://bit.ly/LV8XDz

POP ART Portraits can also be created with photos or images of:

::Celebrities::

::Cool Characters::

::Cartoon Characters and Toys::

ORDER NOW!! http://bit.ly/LV8XDz

 And WHO is the artist?

Ryan Seslow is an artist, independent curator, and professor of fine art living and working in New York. Working in a variety of mediums Seslow shows his work both nationally and internationally. Seslow teaches various fine art studio courses simultaneously between four colleges in the metropolitan NY area.

View the Art and Portfolios of Ryan Seslow:

http://ryanseslow.com

http://www.flickr.com/photos/rmsmovement

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short-link to this post: http://wp.me/p2SFO-Iq