editing disabled

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I thought about Project 1, the Mapping, Indexing, Modelling project, for a long time before I could do anything about it. I was hung up on the words. I understood the project to be a conglomeration of all the things that are meaningful to me, have influenced me, have sparked my interest and lasting attention over the years, and in turn how I have embodied these ideas and influences and made them a part of my thinking and practice as an artist and an educator. The problem was I was unsure as to how to put these things into categories, because much of what inspires me is the random pairing or grouping of ideas and influences and how they reverberate when combined to create new epiphanies and new insights.

I started off by looking at an image file I keep for anything and everything that interests and inspires me. It mostly serves to jog my memory of things -- artists, films, spaces, places, people -- things like that. This seemed like the right stew, but I didn't know how to organize it, so I took a piece of paper and wrote a list: I gave a name to each picture that I saw, printed up the list, and looked it over. It was, surprisingly, depressingly devoid of any resonance or relevance. I realized that since I think and associate visually, in an attempt to organize things, I had drained the lifeblood out of everything I love and that inspires me. So I decided instead of words, I would print up the pictures. Once I had the pictures, I wanted some three-dimensional way to represent how the ideas and concepts co-exist in my mind; I thought they should hang to indicate movement and I thought they should make noise. I wanted these elements because the ideas and concepts, as inspiration, are not static; they are alive, like moving particles. I started making boxes to represent the containing of these ideas, but not closing them because they need to be open vessels. There is some symbolism in the finished pieces, but also randomness: some decisions don't have any kind of significance I can identify. I wanted that, too.
I'm enclosing some pictures -- even though the finished boxes are so colorful, especially with the red string and the shiny gold jingle bells, these photographs seem to work as well because the sepia tone flattens out the differences between the images and makes them all appear part of a whole, which is how these influences exist in my mind and inform the way I make art and relate to the world.