So I am about to put the finishing touches on what I feel to be the most fulfilling piece of mine to date. It is a culmination of specifically the past five or six years of foresight into what I want to make art about and how I want to make it tuned with the vivid memories or rust and decay I experienced throughout my child hood and my overall view on the progression of humanity in the world we live in presently. The piece is an 8'x3' panel made of all found pieces of debris creating an assemblage canvas which I then attacked with a multitude of media. In short I put a lot of heart and soul and love and inspiration, a lot of life experience and happiness and anguish all rolled into it, and long hours at night into this baby.
Not only is it a painting but it is also an integral component to the Altar Piece Installation I am making in Queens Nails for the awesome show I have coming up entitled "The Love of All Above". A new installment in the Unstoppable Tomorrow : The World of Future Antiquity Series, "The Love of All Above" aims to integrate the paintings and detail work into the actual installation more so there is really no distinction between the Installation Piece and the indiviual paintings that can exist outside of it while it is presented as an environment. This will in turn create a truly more realized piece of my imaginary future world for the viewer to experience. Also the performances will be conceptually and aesthetically streamlined with the art piece in a true collaborative effort creating a page out of the graphic novel future/past world of Unstoppable Tomorrow, that I set out to have the audience revel in. There will be performances by Joel and Rhea St. Julien, the Daylight Curfew Crew, and Kool Kid Kreyola who will also be helping in the production of the installation piece.
This new panel has been an enormous breakthrough in that I have realized the culmination of concepts,ideas and techniques I have been trying to bring together and they are all finally working to create this world in the eye of the viewer on many levels. It can exist on its own as an art piece, but will truly be understood when it is seen built into one of the flanks of the installation, as a narrative, historical and mythological story telling device to aid in the full experience of praise and performance for "The Love of All Above". If you think back to ancient Japanese wall tapestries or screens depicting battles, and daily life, or back to Durer with his prints of biblical monstrosities or the four horsemen, or even back as far as the cave paintings, then you look at comic books, and and super hero related material, or even sports memorabilia with its larger than life, almost Greek God qualities, you will see the common threads things being depicted that one day have an importance and a legend or mythology behind them that is highly influential and sometimes God like. Taking this into consideration one will begin to understand that by creating this piece in the way it was realized, I am making my own epic, narrative stamp to be translated into myth hopefully a thousand years from now, but in the present it acts as a cohesive story telling platform through a multi media art practice that can exist on many levels for a wide range of audiences and demands thought and interaction in some form wherever and however it is encountered in its lifetime. It was derived from all of the eight million stories in my mind while listening to a documentary about Charles Mingus and how his music is all about the conversation he is having with his fellow players and the audience. Nuff Said. "The Love of All Above" , February 4th, 2012, Queens Nails Projects, more to come...Felix