Vasqi

It's been about a decade since I've done anything artistic. So, it's a bit like stepping into an old abandoned house to see these works from years gone by. It's definitely different to look at what I did and what I said about it at the time. Looking back, I feel that, in the moment, perhaps I really didn't understand the truth behind the work or perhaps I understood, but was afraid to be honest about it (with myself and all of you). I certainly made mistakes. But I think those mistakes are part of the process. One of the most glaring mistakes can be seen in the journals where I talk ABOUT art; more specifically, how I speak of art-making as if "all artists are doing it for the same reasons", an a naive attempt to create a kind of Universal Theory of Art. That was just plain stupid. And again, perhaps this was simply to mask my true intentions. Here's the real reason, and again, it's only MY reason, not THE reason: I made Art because I wanted to be seen. I felt unseen. I felt myself

All done painting!  I gave all my paintings away, because, well, no one was buying them.  And quite frankly, I'm too god damned poor to take care of them. Gone a new direction now:DSLR "filmmaking". Been making mostly commercials for a salon so that I can get some god damned money to survive.  Using the money to replace my worthless fucking "fine arts" materials, with DSLR Gear. Running 2 Canon T2i cameras with Magic Lantern Firmware and a bunch of fucking M42 mount Pentax lenses.  Got a fuckton of Condenser microphones and a Zoom R24 for Audio, which s nice, because it means I can ditch my 12 cannel mixer.  Looking forward to the Zoom H6,

I think I prefer to work in the foreground because it allows me to avoid problems with the horizon.  The horizon has always been problematic to me. In wall art, horizon dictates the propper height of the viewer.  It means, once I have decided upon the size of my canvas and the location of a horizon line, I have predetermined the optimal viewing height of the observer.  Yet, as an artist, I have little control over the architecture of a room that the work will ultimately be exhibited in, or even the height.  Quite often, the height is determined by a designer, and constrained by the celing height of the room.  So an over sized painting is oft