use your photos as a TOOL….
example below:

http://www.youtube.com/watch?v=hglVqACd1C8

see the truth below…CASH..
http://www.youtube.com/watch?v=jQcNiD0Z3MU

ok… enough of that…

http://www.youtube.com/watch?v=Q3G2BQVrcOs&feature=related

but who wants this? when i have plenty of CASH in my pocket?

http://www.youtube.com/watch?v=9CSkJ3eO1uc&NR=1

this is the music i hear when i see your photos,,,
you are trying to look and sound “deep”… but i can see through you…
laughing…..

http://www.youtube.com/watch?v=rznn6bgq5nA

By 1998 I tired of producing artwork, I couldn’t see the point of producing artwork that is placed on the wall. Mind you this has never been an important aspect of my artmaking even though most of the time the artwork eventually takes a physical form it’s relevance is usually lost by that stage. There has always been an underlying thing that process and production and involvement is more important than the work, this unfortunately too many times it excludes the audience.

Residing in Asia I encountered Chinese calligraphy books once again and saw them as a nice path of creating visual narratives. Thus I embarked on a series of work called “etrouko”. The series name etrouko is a combination of the words trout and gecko. The trout embodies aspects of my Western cultural upbringing, which was as a “displaced Latvian” something that was dear and close to my parents and the gecko is about life in Australia/Asia. I lived through the usual trials and dilemmas of a migrant child peering out at our adopted society Australia from the safe “Latvian” confides of my parents backyard.

The books are presented as an installation in a random order as they reflect general a “in the head” experience that is not static and tied to a rigid formula . There was/is a book one and they may be viewed individually in a chronological order of completion if one desires.

Etrouko the book series is still an ongoing artwork as well as being the backbone of some of my recent work (2008-) The upcoming book “no me saques sin razon” closely aligned to the original series of books and currently it exists as a slide show and is only viewed via the net. There is a chance that it may remain that way and evolve with older versions continually discarded and replaced by a new one
Work prior to the 1999, has been either discarded or is being re appropriated into the etrouko series. Eventually all work prior to the 1999 will probably no longer exist in its original form, whether this is a good or bad thing I’m not sure but it sits comfortably with me.

Your comment is awaiting moderation.

You got me, here, Patricia. You have very substantive texts under many of your pictures on Pbase.

i wrote a long long comment this morning, which has never materialized…weird….so, well…that’s karma…but, i tried imants to both talk about the work, but also about the pitching of others to get you to speak (a silly request)…anyway…sorry….now, im too pooped to write…

sending u across-the-pond hugs
b

By 1998 I tired of producing artwork, I couldn’t see the point of producing artwork that is placed on the wall. Mind you this has never been an important aspect of my artmaking even though most of the time the artwork eventually takes a physical form it’s relevance is usually lost by that stage. There has always been an underlying thing that process and production and involvement is more important than the work, this unfortunately too many times it excludes the audience.

Residing in Asia I encountered Chinese calligraphy books once again and saw them as a nice path of creating visual narratives. Thus I embarked on a series of work called “etrouko”. The series name etrouko is a combination of the words trout and gecko. The trout embodies aspects of my Western cultural upbringing, which was as a “displaced Latvian” something that was dear and close to my parents and the gecko is about life in Australia/Asia. I lived through the usual trials and dilemmas of a migrant child peering out at our adopted society Australia from the safe “Latvian” confides of my parents backyard.

The books are presented as an installation in a random order as they reflect general a “in the head” experience that is not static and tied to a rigid formula . There was/is a book one and they may be viewed individually in a chronological order of completion if one desires, book four http://www.etrouko.com.au/etroukoIV.htm

Etrouko the book series is still an ongoing artwork as well as being the backbone of some of my recent work (2008-) The upcoming book “no me saques sin razon” http://www.etrouko.com.au/artouko.htm closely aligned to the original series of books and currently it exists as a slide show and is only viewed via the net. There is a chance that it may remain that way and evolve with older versions continually discarded and replaced by a new one http://www.etrouko.com.au/imants.htm

Work prior to the 1999, has been either discarded or is being re appropriated into the etrouko series. Eventually all work prior to the 1999 will probably no longer exist in its original form, whether this is a good or bad thing I’m not sure but it sits comfortably with me.

Patricia

Picasso talked about his work
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I am always befundled why people can’t read exactly what others write. Especially, when they write it as precisely as possible as I did. Peter, I never said Picasso did not speak about his work, I wrote:

Picasso never deigned to explain what his paintings were about.

An artist (in the art market/gallery context) is expected to be able to talk about their work and why is is important or meaningful. Picasso talked about his work (for starts see http://en.wikiquote.org/wiki/Picasso), Bacon talked about his work (there are some interviews on tape as well as in books).

Art is about communication, and if someone doesn’t get it then which is better, for the artist to try and explain to the person their view on the work or for the artist to say, “if you don’t get that’s tough”?

I am one of those that likes to not only have my opinion of a piece but to hear the creator talk about their work so hopefully I would get a deeper understanding of the work then if I just viewed the work based on my background and expereinces.