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"something intimate in the remote . . . " i like your idea of expanding the design context to the actual environment. it involves the idea of the journey to the desert. so maybe we should think of "the curatorial" in the same way - but as it pertains to the individual. so then the narrative is defined by the frame, acting like a snapshop of the place each individual is at in their own personal design journey?
Toggle Commented Oct 17, 2006 on DESERT PEOPLE at Graphic Language
stay on this thread! you've struck something really intriguing. the only question i have at the moment, is how will you clarify your own definition of memorial? the sketches are an indication of what direction you're taking. but will you rely solely on your visual process to define what your point of view (and eventually your statement) will be? i ask this mainly as a way to find a spark for my own process since i'm coming from a place that's all about my visual collection, and i'm having difficulty clarifying what my point of view is . . . sorry this is so confusing. but i think you're definitely onto something!
Toggle Commented Oct 12, 2006 on What constitutes a memorial? at RE-DIRECT
does being in la v. ny make us less willing to keep up with what's trendy? or is it simply a matter of what's more privately important? i find that the expansive space (or the disconnect as la tsk-tskers have described it) is an advantage as a creative thinker. la gives me time to breathe, to stretch and experiment with what i like and then see how subcultures embrace or reject trends.