LA, simone decker, and feeling disorganized

{simone decker}

I am writing from LA, where I sit spread out on my aunt's couch-- lots of papers folders notebooks. feeling disorganized-- I went to USC yesterday to check out their program, very exciting. wrote down a lot of notes. Lots of ideas.

- when i return to sf:
Organize book shelf. poetry books. -- organize old papers / journals
Dig around my hardrive-- find larger files? dad take better pics of seam drawings, sutures. documentation of all work must be organized.
thanksgiving: swanton -- embed insecurities into the walls.
how do I convert vids to avi without losing quality?
making set with interns. we will have our production meeting, confirm the designs, and start scouting materials and building. 15 hours straight -- stay up late if we have to.

anne carson wrote: (found this on kira akerman's kickstarter)
“I don’t know that we really think any thoughts; we think connections between thoughts. That’s where the mind moves, that’s what’s new.”

signing off.

silvie

This blog post is me ellaborating on the previous post-- my current inspirations. I am trying to understand WHY i am into the things i'm into, and i have a feeling it goes beyond prettiness.

the polka dots-- compulsive, obsessive, just like my interest in obsessive hoarding and also obsessive organizing.

I was talking to eyla last night about why making a drawing of a material seam drawing would be useful, because i keep thinking about it. She said that the act of drawing something better informs the drawer of the object being drawn, especially if the drawer made the object to begin with. Also there is the possibility of inventing things that arent there, both materially and also in terms of the drawers' personal attachment to the thing. it reminded me of my desire to invent stories that didn't actually happen to an object, like in the case of the bargain barn. all the imagined histories, and possibilities of unknown experience. Today i was thinking about how the seam drawings can take so many iterations, depending on how i decide to hang them-- it sort of reminds me of james welling and his photos of aluminum foil. he sees the foil as a 'machine to manufacture randomness' -- an analogy for language in the way that it uses the same words over and over but is constantly reconfigured. I feel like my interest in the hoarders and simultaneous obsession with organized closets mirrors my ideas about my own artistic practice-- when am i artistically free and when am i following a system of rules? my thesis was the collision of followed and missfollowed, making and unmaking. my actual practice of making art is similar-- whim and system.

{photo: james welling, photo of aluminum foil}