Every time I open my eyes and look in any direction I am reminded that not one thing I do is something that is one thing I do. It is always something else, someone else, decided somewhere else other than here. This is not a conspiracy. I am as complicit as the someone else. I look and choose just as anyone somewhere other than here. One something else is as else something.
I make art to understand this Else-ness. Movement, transparency, chance, relation, change, multiplicity, any and all punctures in the structural status quo have become my artistic tools and concepts. As such, I have begun to look at my self, or body in general, as a translucent space that projected information– in it’s ever changing forms, mediations and politicized agendas– flows through, filling momentarily, dissipating and then quickly repeating the cycle. This constant cycling forces the body to activate in a movement towards a muted, fragmented and formless multiplication.
The current body of work represents a questioning of self within this Else-ness by its variation of media, concern with movement and it’s concentration on inter-subjectivity or points of exchange. It looks into the way we interact with information, specifically, the flow of pre-mediated visual information that envelops us daily as defining terms. To play with the visual nature of this information flow, I use random imagery culled from a variety of media sources. These images, incomplete replications in varying scale, act as brush marks which are stacked, repeated, stretched, melded, transferred onto a variety of forms that act as a vessel for information to be projected into or through. Since they are more spatial and thus more concerned with a literal and felt interchange, I have been working of late in Sculpture, Installation, and Video Projection. For these works, it is not important that any of the images are understood individually, but rather together as an untouchable movement. Imagery, or the information that it imparts, should be viewed then, not as a holder of individual meaning, but instead as a precursor or enforcer of Else-ness.
Even as I experiment with the spatiality of movement, I still retain a love and practice of drawing as a means of direct exploration. Contemporaneously to my more 3-D work, there is a constant consideration of mark-making in my drawings. I explore drawing as both the mark I make and the mark made upon me. I am intrigued by how, through this direct point of contact (a sense of touch rather than sight) there is such equivocation between art and life. In the actuality of the media, there is an endless array of points and paths between self and society, active and passive, percept and precept, impulse and recognition. Rather than answering, drawing is the way I develop my questions.
All of these artistic explorations, whether they be a felt interchange of information or the directness and touch of drawing, aim to clarify my role in a culture that, as I understand it now, would prefer I had no role. It would, instead, keep me moving, translucent, malleable, unable to touch and forever in search of an Else.
Curtis Bracher. All rights reserved ©