to view pictures of recent work, select a series from the list to the left
Internal vs External Parameters
The body is an interactive organism, a physically accountable structure to its environment that is
in unison with the sustainable properties of nature. As a living person I posses an internally
generated, rhythmic and pulsating organic grid. A matrix of chemically induced synaptic and
spiritual energy that can be deemed life. Experiences within the realm of the human condition is
a reactive dialog with the environment, accessible when both internal (body) and external (the
surrounding environment) energies coalesce. By observing this distinction between body and
environment I began exploring the distinction between parameters and forms generated in my
art work that are internal or external to my body. Though structured, directed, and mapped from
different sources the outcome of working repetitively from either source shares similar
psychological and transcendental effects.
External forms are predetermined by selecting and mimicking the form or feel of a subject
(object) outside the body. Decisions in setting up parameters such as how much and how long
a piece will last are directed by the subject and materials. Parameters are established either at
the beginning of the work or early in the process of making once I have had some time to work
with the materials. The establishment of parameters or limitations in the work is a decision
making process an expression, and signifier of a controlled environment, a metaphorical
address of my need to understand and direct nature, even though it continually exceeds
comprehension and rationalization. The idea is that the permutations in my work can continue
infinitely.
Allowing parameters in my work to be determined by my body is a signifier of nature. This
dichotomous observation of internally and externally generated parameters has heightened my
sense of perceptual awareness on being human and my interconnection and dependency with
and on my surrounding environments. A microscopic investigation is reflected in macroscopic
tendencies. Initially I began asking why I am doing this, where is this coming from, and why.
During the act of making more questions surface. I think this line of questioning is a responsible
approach, not just critical in order to assign contextual value in terms of its relevancy to art, but
mindful of the world we interact with everyday.
Internal vs External Parameters
The body is an interactive organism, a physically accountable structure to its environment that is
in unison with the sustainable properties of nature. As a living person I posses an internally
generated, rhythmic and pulsating organic grid. A matrix of chemically induced synaptic and
spiritual energy that can be deemed life. Experiences within the realm of the human condition is
a reactive dialog with the environment, accessible when both internal (body) and external (the
surrounding environment) energies coalesce. By observing this distinction between body and
environment I began exploring the distinction between parameters and forms generated in my
art work that are internal or external to my body. Though structured, directed, and mapped from
different sources the outcome of working repetitively from either source shares similar
psychological and transcendental effects.
External forms are predetermined by selecting and mimicking the form or feel of a subject
(object) outside the body. Decisions in setting up parameters such as how much and how long
a piece will last are directed by the subject and materials. Parameters are established either at
the beginning of the work or early in the process of making once I have had some time to work
with the materials. The establishment of parameters or limitations in the work is a decision
making process an expression, and signifier of a controlled environment, a metaphorical
address of my need to understand and direct nature, even though it continually exceeds
comprehension and rationalization. The idea is that the permutations in my work can continue
infinitely.
Allowing parameters in my work to be determined by my body is a signifier of nature. This
dichotomous observation of internally and externally generated parameters has heightened my
sense of perceptual awareness on being human and my interconnection and dependency with
and on my surrounding environments. A microscopic investigation is reflected in macroscopic
tendencies. Initially I began asking why I am doing this, where is this coming from, and why.
During the act of making more questions surface. I think this line of questioning is a responsible
approach, not just critical in order to assign contextual value in terms of its relevancy to art, but
mindful of the world we interact with everyday.
Charles Livingston Studio
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