Attn

Ancillary writings can be found at:
http://wrhawk.edublogs.org/

Apologies for the diffusion.

(as i wander)

here's an old poem — now recently revised — that I'm rather proud of.

originally drafted / spring two-thousand six
revised on // 12.29.06


as i wander, cd wright holds my hand

some nights i sleep with my contacts still in. as if
when i wake i've clear vision again. for
five months in october of two-thousand five
my head eyes and neck were a live
enemy under my skin.

if this were atlanta, i'd be by the sink
washing plates forks and knives of my
family — my kin — who know me and
love me and ask that i be none other
than myself (not him and not he).

i'd sit on the walk in the haze & the heat
with my cup case and guitar and
sing to the breeze of my days
minnesota and places that i wish
i'd been.

but here in the wasteland of birds and of
trees and of star moons and lakeshores
and feet on the beach, i kneel in the woods
and place ear to the tree, as if i could hear
the earth talking to me.


All Rights Revered.

as a note, although my blatantly late portfolio earned me an A-, I received an overall D in my Intermediate Poetry course. many thanks to R.M. for her insight, empathy, and authoritarianism. none of this would be were it not for you.

digital erratum

i love chuck close.
every time i see a piece of his in a gallery, my heart begins to race.

the details, the mastery of process.

one time i saw a polaroid transfer of his. it was huge. i'm talking four feet by three feet. then i got up real close, and realized what i was looking at:

an inkjet print.

they call them "giclée" prints — that's /ʒiˈklɛɪ/ to you phoneticians. their role in the art world is to provide high-resolution facsimilies of legitimate works of art. their market is those that appreciate, but cannot afford, an/the original. they are reproductions at best.

chuck close's giclées have sold for up to $9600.

it's things like these that make me hate chuck close, hate his commodification, and most of all, hate his profit-over-purity-of-process in practice. i've thought for a while about how to best convey the disloyal insult i, as both printmaker and fan, feel over these monetary & moral trangressions. after some considersation, i arrived at the proof i present below, a digital response to a digital ill.

the composition below assumes a 50x72" sheet size, and is pointedly horrific in terms of resolution. at that scale, there would be approximately 49 pixels to the square inch, or 7.196 per linear measure. the coarse pixelization serves to honor mr. close's "power grid" while at the same time makes obvious the inferiority of inkjet reproduction as a substitute for works of a limited medium.

On Commodification
digital state proof
proposed 50x72"

foto etc.

scanned some more pictures a while ago.
there might be a keeper or two.

prints are being made, but i have no idea where my digicam is, so they'll have to be delayed.

the recent photos have been lumped into the archival set on flickr, but it should be obvious which ones are new.

i might be using them for print sources, or even just trying to print them with photolitho or somesuch.

here's my favorite from the lot:

primarius promo, and other impressions

slipped into the printmaking studio's computer lab today, with the aid of one ben, and as a result, have digitized the keepers from my 35mm catalog.

i'm too cheap to drop $25 on more flickr sets, so i knocked continuance into the culls. maybe if i get the job i threw this set together for, i'll have the photos and funds to rationalize going 'pro.'

so, without further tomfoolery, le fotos:

it's like fingernails across chalkboard, only painful

since when did it become 'okay' to not be able to sing?

every night, in the drawing studio, we listen to the current.
every night, in the drawing studio, this comes to mind.

musicians who can't sing, instrumentals,
instrumentals, musicians who can't sing.
now make nice.

from the archives : sta

removed