“The problem was very clearly formulated by
Duchamp. He says, more or less, that one must
strain to reach the impossibility of remembering,
even when experience goes from an object to its
double. In contemporary civilization where
everything is standardized and where everything
is repeated, the whole point is to forget in the
space between an object and its duplication.”
“The world, the real is not an object. It is a
process.”
John Cage, For the Birds
Duchamp. He says, more or less, that one must
strain to reach the impossibility of remembering,
even when experience goes from an object to its
double. In contemporary civilization where
everything is standardized and where everything
is repeated, the whole point is to forget in the
space between an object and its duplication.”
“The world, the real is not an object. It is a
process.”
John Cage, For the Birds
Charles Livingston Studio
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The most basic observation is that as a product of nature we construct and conjoin in a manner
analogous to nature. A series of objects either synthetic or biological accumulate or accrete to
form new objects or organisms. This accumulation of objects is a process equating and most
often exceeding the sum total of their parts.
Reflecting on my experiences of working various industrial and service related jobs over the
years, my focus on the subject of process as demonstrated through accumulation and accretion
became more pronounced in my work. Most professions or disciplines, including our daily
activities outside of work, require a series of repeatable tasks in order to form tangible and
functional product or service. Tasks are repeated but never executed the same way twice, a
signature of our unique and individual identities. Understanding the attributes and relevancy of
process to all areas of life, process as a topic became pronounced enough to enter into my
artistic practice as statements about my place as an organism in the act of making.
The artist, like any other profession or person, is a worker/organism engaged in a process. The
result of our making anything is an intentional or unintentional sensorial record or document.
The final product or action is residue of a repeated activity, either physical or conceptual, that
translates into a sustaining ritual, a purposeful signifier of being. In my work a simple line, curve,
dot, traced form, object, or sound repeats. Their presence becomes more pronounced attaining
greater mass and more significant form, invading a larger portion of space and time. Densities
fluctuate based on the parameters of the project. The significance of any repetitive action can be
considered a sustaining action that contributes to the construction of our realities. Structure and
consistency of unique accumulated and accreted events and experiences are an underlying
sustenance of being. Whether in the context of nature’s cyclical processes or synthetically
human invented processes, accumulation to construct finds its origin in all areas of micro and
macroscopic being.
One observation during a project is that my focus intensifies on the neutral space or time
between things. My attention shifts to the relevancy of what is not present. These neutral spaces
in my work delineate parameters, provide structure, and accentuate established and developing
traceable pathways of interconnection. The residual document of my actions model fictive
pathways analogous to natural, urban, cultural, and industrial networked systems.
For myself a process or act of making equates to transcendental actions resulting in a document
of those actions. Parameters, the setting of limitations or rules, are my signature. Parameters
are autobiographical barriers emphasizing my presence and ownership of the work.
Parameters, intentional or not, are the defining principle of anything’s existence. Perceptual
shifts (our continual development, improvement or eradication of ideas and practices) rely on the
acute awareness and fluctuation of our limitations as applied to the processes that we engage
in everyday.
analogous to nature. A series of objects either synthetic or biological accumulate or accrete to
form new objects or organisms. This accumulation of objects is a process equating and most
often exceeding the sum total of their parts.
Reflecting on my experiences of working various industrial and service related jobs over the
years, my focus on the subject of process as demonstrated through accumulation and accretion
became more pronounced in my work. Most professions or disciplines, including our daily
activities outside of work, require a series of repeatable tasks in order to form tangible and
functional product or service. Tasks are repeated but never executed the same way twice, a
signature of our unique and individual identities. Understanding the attributes and relevancy of
process to all areas of life, process as a topic became pronounced enough to enter into my
artistic practice as statements about my place as an organism in the act of making.
The artist, like any other profession or person, is a worker/organism engaged in a process. The
result of our making anything is an intentional or unintentional sensorial record or document.
The final product or action is residue of a repeated activity, either physical or conceptual, that
translates into a sustaining ritual, a purposeful signifier of being. In my work a simple line, curve,
dot, traced form, object, or sound repeats. Their presence becomes more pronounced attaining
greater mass and more significant form, invading a larger portion of space and time. Densities
fluctuate based on the parameters of the project. The significance of any repetitive action can be
considered a sustaining action that contributes to the construction of our realities. Structure and
consistency of unique accumulated and accreted events and experiences are an underlying
sustenance of being. Whether in the context of nature’s cyclical processes or synthetically
human invented processes, accumulation to construct finds its origin in all areas of micro and
macroscopic being.
One observation during a project is that my focus intensifies on the neutral space or time
between things. My attention shifts to the relevancy of what is not present. These neutral spaces
in my work delineate parameters, provide structure, and accentuate established and developing
traceable pathways of interconnection. The residual document of my actions model fictive
pathways analogous to natural, urban, cultural, and industrial networked systems.
For myself a process or act of making equates to transcendental actions resulting in a document
of those actions. Parameters, the setting of limitations or rules, are my signature. Parameters
are autobiographical barriers emphasizing my presence and ownership of the work.
Parameters, intentional or not, are the defining principle of anything’s existence. Perceptual
shifts (our continual development, improvement or eradication of ideas and practices) rely on the
acute awareness and fluctuation of our limitations as applied to the processes that we engage
in everyday.
