heavyLox

Tips, swerv, nice work! been busy. but lets see if i can dig up some updates soon ish...

are these adjustable rate loans, can my stash of old new york times memorabilia act as collateral?

there is no such thing a illegal writing the doesnt stand a chance at getting buffed...

JIVE TALKING TURKEYS

stolen

real nice kemist!

Re: UPS CREW '93 TIL INFINITY'

thats not ges

washed up... hahaha.

KOH i have things to say about your latest piece as well as others, its been a slightly more taxing day at work... but i will. I feel bad in that i have been ultra uninspired to make any work lately, or at least work that is appropriate for a thread such as this; so being critical and not also participating with work atr a decent level makes me feel douche-like. so Im guilty of opinions and no work.

to be clear i did state i might have over croppedededed... to me the space at top and space at bottom is almost equidistant thus is neutralizes some bang IMO. *** starting the excuse train before the piece is even done is wackola son.

did you forget the photo?

landscape, nice; def the stronger of the three.

Normally I am a huge fan of KOH. however this piece to me reads as unilaterally applying what you know (line) to something your less familiar with (absract form). theres a strange mix of stuff going on in this piece... the tattoo influence- the pointillist style of shading southwestern feel of the yellow- reads like adobe work/glaze to me. the over all low contrast and grey value Heavy black border, of inconsistent width. materials and yet they all are things that are well with in your comfort zone they combine into a semi predictable product. Id like to see you work with a SHIT brush (bristles stick all which-a-way, from aggressive use and poor up keep) and non sharpened pencils. IN many ways this piece suffers from the opposite pitfalls as Harveys pieces; your over controlling your work. Which is cool and needed for most of what you do, tattoos and really anal line drawings, that are awesome btw. this piece however seems to have gotten away from you in the number of competing elements that dont resolve into a harmonious piece or into enough of a conflict to start a good internal dialog with in the elements themselves. in the end to me your ability to work abstractly is gonna center around your ability to relinquish control for a bit and allow your pieces to speak back to you in a creative dialog instead of forcing your will on it. Even your list of materials seems overly controlled; sort of like you pre-decided those were the things the would allow you to create an abstract work. Control control control. Let go luke.

1.) 2.) I think both of these images fall victim to the same thing, which many many of us are also victimized by, material seduction. Wood grain, Cracked and weathered surfaces, drips. TO me the first piece you posted is the stronger of the two; but still kinda of weak, or restrained or something. The material seduction is a trap that stops you from controlling your picture; the natural material is so strong that you don't want to ruin it my adding to it so you hold back. In these cases, ether choose materials you hold less dear or fearlessly destroy the piece of wood, in hopes or emerging on the other side with a 'new' thing you've made. Drag it through the gravel, beat it with a hammer, or otherwise own the canvas. Treating it as a precious object to start with, will always take over the piece and you will end up with a piece of wood with something you stamped on top; instead of a well integrated piece you created. Does that make sense? I like the direction of the black line work. The line weight could vary a bit more. And i think that after the initial line starts (i read it from the bottom left) the line then turns in to predictable fake script; not enough variation in interacting the top and bottom of the wood. the black becomes centered and contrived. the black dots read similarly, as well as the orange drips. It may serve this kind of piece well to work via a process of chaos control and element removal. There are few people, with in the context of this site, joker and BOBOjingles come pretty close, who can work via a process of controlled addition. That is their images appear to start from nothing and end with just enough; their pictures work with a sense of efficiency very controlled use of materials; theres jsut enough of everything. The rest of us can achieve the same thing via the opposite approach. put EVERYTHING you have onto/into the canvas. Then create your picture through the process of removing the bits that don't belong. In many ways this becomes a process of negotiation. building up and areas while destroying other areas. The Timber piece i like less theres a false tension by the lines approaching the edge but not breaking it. I dont see a clear reason for the line work to start and stop where it does. and again it reads as a piece wood and line drawing instead of one piece. *****edited into more readable paragraphs

this has received a lot of positive feed back; I feel like its placement within the picture plane makes this a less interesting piece then it could be if say the if the picture were framed or the work was a little less Centered. I TRIED TO CROP IT TO SHOW MY THINKING. with the cropped image to me the external shapes created by the lines, quartering the page become more exciting and visually dynamic. However it also creates slightly suffocating and locked in areas, that could be alleviated by breaking some of the line work; so not a continuous line and or by varying the line weight more. At the top i cropped the image so the edge isn't broken but its close enough to divide the top of the picture in to two pieces while also creating a greater level of tension between the line and edge. this top space, along with my suggestion of breaking the lines a bit allows for alternative visual navigation. That is to say it would allow the viewers eyes to move through the image by both following the lines and by moving in and out of the spaces created by the lines. And with the addition of well place gaps the eye would be able to move more fluidly through the piece instead of hitting the line like a wall and having to back up and find an alternate route through the picture. I like the use of transparency where the orange overlaps the blue. that being said everything else sort of sits on the same plane; the whole picture to me, sits at sea level. The transparency allows some opportunity to add some depth to the image. The depth of the image will also be affected by varying the line weight. As well as adding to the space and relative 'air' separating the various intertwined elements. The blue is really heavy and draws the eye in like a magnet. Whats nice is the way the line work acts to tug you away from the blue and sling shots you right back in to the blue... Over all i like the picture, the direction is right the feel is right and the image reads as honest and not trying to be anything other then what it is. Nice. **** i might have over cropped. *****edited into more readable paragraphs

yeah take it...bitch. ||

let me get that phone to help pad out my ebay "kemr" pack, already got the shoes.

yes.

pause, illustrator is great to kick around ideas.

there are rules and there will always be rules. our visual perception forces rules on us for as humans its our nature to categorize our experiences and we do the same thing when sorting out visual information the whole 'no rules' thing is a pipe dream of the naive. The idea is once you know the rules*** of composition, line, volume, color and scale (or what ever your chosen form of expression is) you may then set about breaking them. Art is much like music, it remains interesting to the eye when theres enough information to not alienate the viewer while maintaining enough nuance and surprise to key the eyes stimulated and searching for clues on how to read what the eyes see. Similar to how music works on basic timing and sympathetic chords combined with dissident notes; the sympathetic chords keep us grounded, while the dissidence keeps us listening for what might come next. Which is why experimental music that goes against these principles can be hard to listen to; you have no frame of reference from which to ground yourself I agree with joker that graffiti becomes incestuous and stale if the inspiration is focused inwardly on itself. Its almost impossible to keep ideas fresh when they are culled and recycled from the same source. There are only some many James brown breaks that can be sampled before the music begins to sound all the same. *** Rules. New movements like writing started of unorganized with no accepted set of standards and principles, they were defined as writing evolved. If you look at early writing it was very raw and with out regard for artistic standards, it was its own thing. However as it evolved and people put more thought into it intellectualizing it, consciously or unconsciously, the principles formed and they were unwittingly very much inline with the basic principles of visual communication.

Re: UPS CREW '93 TIL INFINITY' Few tings