Troika: The Path of Least Resistance/ The Path of Most Resistance/ Delta, 2013
The ‘Light Drawings’ are a series of works on paper, the remains of electric discharges that appear in the shape of intricate repeat-basic forms.
There, in a process of defiant playfulness, the order of nature is revealed by the mean of a sophisticated and terrifying technology, while the tracery and vulnerability of the edges where it meets the void are reflections of our desire as human beings to ‘physically master’ nature.
'Path of Least Resistance' presents the remains of a 50,000 volts electric discharge as it burns its way through paper. The series of delicates fractal patterns reveal an imminently natural rule as the electric current propagates through the medium unpredictably but always where it is easier for it to go. The results evokes rivers, tributaries, oxbow lakes, blood vessels, veins, capillaries, and plant roots, the patterns of which all stemming from the same genetic law.
'Path of Most Resistance' forces the charge to assume a circular pattern, one of the first figures of abstraction, in an act reminiscent of the ‘Opera Contra Natura’ of promethean myths.
With ‘Delta’ (2013), the charred pathway distinctly assumes the patterning of a river delta.
Edible “Chocolate-paint” by Nendo, 2013
Chocolates like a set of oil paints. Tubes in a box of paints contain a variety of colours, and these chocolates a variety of flavoured syrups. The labels indicate each chocolate’s flavour and also function as wrappers, keeping fingers clean for eating. A design that combines the childhood excitement of opening a new box of paints and the thrill of opening a box of chocolates you’ve been given unexpectedly.
photos by Ayao Yamazaki
I think my love is getting me this for Christmas. Its been a couple of years since I’ve owned a camera. I sold my last one to pay bills. Isn’t it beautiful?
He remembered my fondness of photography.
"A boy may be as disagreeable as he pleases, but when a girl refuses to crap sunshine on command, the world mutters darkly about her moods."
Scott Lynch, Republic of Thieves
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"Why are equal rights the greatest, and seemingly the only, commercial product for so-called black film coming out of Hollywood? Does this imply that mea-culpa-slavery-films are an artistic perennial for a predominately white audience? Why are there few films about African American heroes, produced by Hollywood, as opposed to African American victims? Why has there never been a film about Nat Love or William Pickett (African American cowboys), Bass Reeves (the first African American lawman in the west who, if Reeves were fictional, would be a combination of Sherlock Holmes, Superman, and the Lone Ranger) or The Exodusters (African American pioneers who ventured west)? These are stories about people who took charge of their own destinies and were only victims of their individual circumstances, like their white counterparts. These are characters that are heroic, not victims."