“Lingua ” 2016

The evolution of language is constant. How we communicate is influenced by one’s personal history, one’s origins/locations, economic class, gender, values/beliefs, and technology.

Technology is massively represented by computers in general, and the smart phone in particular. Technology applies science for practical purposes. How scientific knowledge lends itself to language is not only its terminology, that might become popular, but also in the ways people navigate the Brave New World armed with new technology and the language it ushers in.

MGB and concrete and WTF are both acronyms created as a result of people communicating through that creation of technology: social media. The language not only evolves by being used in this context, but also by identifying “God” as an initial, and “fuck” as an initial; and it has become socially acceptable to do this.

To counteract the simplicity of idiomatic phrases that change the affect of “God” and “fuck,” “LINGUA” creates coded sculptural elements that attempt to bring back the formality, difficulty, and colorfulness in understanding what and how we say things to each other. There is also an element of irony that confronts our use of phrases that technology and familiarity bring to language. It speeds up communicating so that we can say more? Like other ways that our lives are made more efficient,  we have more time for other things like relaxation, hobbies, etc., except we do not. Our efficiency allows us to work more.

The sculptural elements occupy the coded home of BRICK. The Greek word for brick is “Plinthos.” Therefore, this piece encourages one to contemplate the simplified expression, “It’s all Greek to me.”

Lingua Frankenstein Chart

LINGUA LEGEND, Alaskan Yellow Cedar, enamel, latex, 2016

 

l1
Lingua Color Chips, AYC, enamel, latex, plumbers chain, 2016

MGB+concrete, (May God Bless), cast concrete, enamel, 2016

mgbmgb2

mgb4mgb4

MGB+concrete, cast concrete, enamel paint, 2016

WTF ,  2016

w

W, plywood, stain, clear wood finish, 2016

t

T, plywood, latex, enamel, 2016

f

F,  plywood, enamel, 2016

WTF, plywood, enamel, latex, 2016

wtf3

W, plywood, enamel, latex, 2016

wtf2

T, plywood, enamel, latex, 2016

wtf5

F, plywood, enamel, latex, 2016

BRICK (PLINTHOS), plywood, enamel, 2016

brick3brick2

brick1brick4

 

linguafin

JCM, FIN, UCBX, GRAZIE, enamel, latex, plywood, 2016

 

 

C.C.C.C. (cast concrete coffee cup)

 

aegcup (2)

AEG Turbine Factory, Berlin, 2008

Coffee is an everyday commodity presented in the iconic, mass produced disposable cup. It is a frail item folks commonly see littered throughout our society.

However, when I reconstruct it by casting it from concrete, the cup becomes a solid, three dimensional piece that references sculpture. It lends some similarity to a ready-made; however, it is not a mechanical reproduction. Craftsmanship has been inflicted upon it, and it is now an artisanal reproduction.

It is still mimetic, possessing a reference or a debt to imitation; but it is no longer mass produced but a boutique ready-made if you will. It is a contradiction by being unique individually, yet still being demoted as not unique among other coffee cups. It can be formally contained, displayed, and documented by installing it on a shelf in a room in San Francisco, or by taking a photograph of it in front of an historical building in Berlin.

cup1

Strathmere, New Jersey, 2016

cup2

New Windsor, New York, 2016

01.10.071712

San Francisco, CA, 2007

Parisfair

Paris Toilet 2015 (thanks GS)

Versailles

Versailles 2015 (thanks GS)