MixedMedia

A few summers ago I experimented with using thin, 3/16-inch plywood to produce textural finishes on top of which anyone could compose a visual engaging, personalized collage. I then took the dried mixedmedia work, sanded it up a bit, and wrapped in an arresting detail/section from a magazine cover. I composed little packages of collage items in cellophane envelopes and tucked them in, sealing it all up with those clear plastic sticky dots. It was a fun and whimsical product that I haven’t really had the time to pursue further.

The steps are pretty easy:

1. Prepare and texturize one side of a large surface of  3/16″ plywood. Let dry.
2. When dry, cut the plywood into 4×5 postcard-sized pieces.
3. Find some interesting, card-weight magazine covers that are large enough to enclose the postcard when folded (at least 8 1/4-inches tall).
4. Glue the plywood, untreated side down, to the bottom edge of magazine covers. Use a brayer to achieve a firm, consistent application. Let dry.
5. When dry, fold the magazine cover into the correct postcard cover shape. Unfold when crisp lines are formed and trim off the excess magazine cover.

Voila! You’ve got a nice gift ready to send to your friends who love collage! Personalize by enclosing a few collage items that you think they’d enjoy.

A post over on Tales from the Hood (??) got me hot under the collar about aid, and used stuff. Basically, the writer – a self-avowed humanitarian and aid worker – is saying Americans have these embedded (and unique) cultural norms around stuff – specifically the resale of used things that the writer dismisses as junk. For all kinds of reasons, the skinny is that extending this “hand-me-down” cultural value to foreign assistance is dumb, and counterproductive. Without taking on the international aid dimensions of this argument, I felt it (ridiculously!) necessary to come to the defense of  the re-sale, appropriation, and re-use of other people’s stuff. Here’s the screed, only slightly edited.

“First, it is incorrect to state that used stuff is junk. Used cars, used clothes, used tools – unless they’ve been abused and are being off-loaded by a huckster, there is much value to be derived in used good. What perhaps underlies your assertion is a tacit recognition that the quality of goods produced by the global economy today is poor, and as a result there isn’t much value to trickle down the reuse value ladder. Nor does the cost of these goods new warrant much benefit over the cost of them new.

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As a mixed media artist, I’m always on the lookout for intriguing, clever, playful, whimsical ways of using ordinary materials to bring delight to the urban experience. A few recollections came to mind recently – principally as a result of a cool project I learned about during the annual MIT IDEAS Competition retreat I attended this week.

The project that got me thinking back to my days of RAOC (random acts of collage) is a “kite mapping” project that will engage youth in Brazil’s slums in surfacing the narratives of place where they live. The idea is one part arts engagement (cultivate narratives of place), a second part technical (use sophisticated technology to document narrative), another part advocacy (application of evidence to legitimize place). Of course, I’m crazy about using collage as a means for story-telling. Like Rauschenberg, I believe collage best replicates visually how we perceive the city.

I won’t go into more detail; you can learn more about “My City, My Future” (aka ArteRio) here. But here’s my point: an “owned” city space is a healthy city space.

We as the ambulatory denizens of urban settlements claim public space each time we move through it, yet we rarely leave evidence of that claim. When we do, its either harmful (waste) or viewed askance (graffitti). One generally must be a “professional” – sign-maker, architect, landscape designer – to have the privilege of shaping urban space.

And yet the delight and surprise we encounter when we come across the legacy of a Nina, Keith Harring, a Bansky, or a Shepard Fairey is part of what makes cities great – and ultimately a safe, welcoming, familiar, vibrant, exciting place to call home. Public art has never been, and should never become, the playspace of technocrats and establishment programs. And there may even be a bit of a renaissance in this “claiming” of public space by young artists working in a startling range of exciting media, which I wanted to catalogue briefly with three examples:

• Dispatch Work uses, inspires others to use, and documents in-fill of cracks and fractures, opened recesses and crumbled away facades with delightful lego work. Recent work includes Improvisal Design in Sao Paolo, Brazil.
• Tape Art is a public art and education collective that uses the line, as it can be drawn with tape of any color, to bring rigorous visual work into public and private spaces. Check out their river of art.
• Blu! has created stunning large-scale animations in the UK and Brazil using the cityscape as canvass. MUTO is their piece de resistance (I think).
• And who doesn’t love the work of the little people in London, left to (of)fend for themselves amidst the hustle and bustle of daily life. The micro-macro relationships are jaw dropping.

Its an exciting time for the urban artist and a great time for us to think and push the boundaries around art, participation, and community development.

A friend recently asked if I could make a “cat sarcophagus” for her daughter’s upcoming eighth birthday party. Along with the proposal she included a snapshot of a “cat mummy” from London. Coincidentally, a few months prior, National Geographic had a cover issue dedicated to pet mummies of ancient Egypt, which my family had loved. So plenty of fodder. I took up the task and wanted to document the process and result to share.

Step One
Create the form. Since the sarcophagus was going to be used to store candy, I knew it needed two halves. I drew and cut one out of a large cardboard box, and essentially copied it for the second half. In the center, cut out a square somewhat larger than a shoebox size, leaving enough room on the edges to retain structural integrity.

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The Orion Nebula captured through NASAs Chandra X-ray Observatory and the Hubble Space Telescope[A little unusual for here, but...crossposted from my day job] Just yesterday I was reading an article at physorg.org describing the remarkable discovery of an explosion within the Orion Nebula considered to be the youngest “star nursery” ever discovered. A star nursery – that phrase really stuck with me in a way it hadn’t before, and I think it must all be in the context of work.

That same day I came across a 2006 TED Talk by the inimitable Stewart Brand, who founded the Whole Earth Review back when the Internet was a glint in Bob Metcalf’s eye. It wasn’t even ARPANET (I don’t think). Anyway, Stewart Brand in his TED Talk was describing the explosive rate of growth of our cities, and how they represent one of our greatest hopes for a future without poverty. He said a lot of provocative things in his TED talk back in 2006, and one of them is that cities, especially slums, are vibrant nodes of problem solving and innovation. Not a typical view of a slum.

And then he did something remarkable – at least I thought it was remarkable – he played a video clip of the earth in dark. The camera slowly pulls away from the East Coast of the U.S. and its dense, nebula-like cluster of light. We see the dark expanse of the Atlantic Ocean and then London comes into view, then Paris and Cairo and Berlin and Istanbul and soon the entire surface of the earth is shining with these clusters of light and he says something breathtaking: “For the first time, the earth is shining back at the stars.

”Star nurseries. The Internet. Cities. Innovation. Changing perspective.

This is what I’ve been dreaming about for more than a year – the creation of a place where innovative ideas are born and carried forward, an global incubator for “invention as public service.” A place where the worldwide talent of MIT students, alumni and their collaborators can be directed toward some of the great opportunities of our time – from energy production and storage to innovations in international health and sanitation. Agricultural production and processing to new approaches to education and communication delivery.

These are some of the challenges we face, and it is my deepest hope that the MIT IDEAS Global Challenge can be an incubator of some of MIT’s new humanitarian stars.