Visually powerful, intellectually elegant.

Something to Believe

My theme song for 5 years. BELIEVE | THE BRAVERY 


So give me something to believe
Cause I am living just to breathe
And I need something more
To keep on breathing for
So give me something to believe



The faces all around me they don't smile they just crack
Waiting for our ship to come but our ships not coming back
We do our time like pennies in a jar
What are we saving for [x2]

There's a smell of stale fear that's reeking from our skins.
The drinking never stops because the drinks absolve our sins
We sit and grow our roots into the floor
But what are we waiting for? [x2]

[chorus:]
So give me something to believe
Cause I am living just to breathe
And I need something more
To keep on breathing for
So give me something to believe

Something's always coming you can hear it in the ground
It swells into the air
With the rising
Rising sound
And never comes but shakes the boards and rattles all the doors
What are we waiting for [x2]


I am hiding from some beast
But the beast was always here
Watching without eyes
Because the beast is just my fear
That I am just nothing
Now its just what I've become
What am I waiting for
Its already done

http://youtu.be/Rv2OyI0nXEE

Ver l’art pour l’art | art for art’s sake | Art after Philosophy

My new manifesto stems from the simplification of my ideas. An idea fused with an enterable task; as I seek the balance of translating my ideas into realism without losing myself and the emotion that my work evokes.

This has also lead to realizations about myself as a designer.

I am messy. 

I cannot be contained in a nice neat little box.

I draw conclusions from theory, form, and art that fuel my work. 

I must generate a concept and have a theory of why things are happening. 

Nothing I design just is- it all has meaning and purpose.  Weather or not this is voiced is another story. The client might not know it is there but it is something that can not been seen it is felt.

I am detail oriented but often times this is gets lost under my big loud statement and then people classify me as conceptual designer and not realistic.

When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art.

Who on earth deemed this a bad thing? I would much rather think big and I mean big and then water it down then never be able to create anything more than an average and over done design.  I am sorry but no one got any where by just accepting things as they are.  There is a desire in me challenge preconceived notion push a little further- sure it may mean extra work or longer hours but as an artist and a designer I feel I must.  I have no choice. I have never had a choice.

So when I land on elements that are profound I feel I must share.

Walter Gropius explains much more eloquently than I in “The Theory and Organization of the Bauhaus” (1923)

The old dualistic world-concept which envisaged the ego in opposition to the universe is rapidly losing ground. In its place is rising the idea of a universal unity in which all opposing forces exist in a state of absolute balance. This dawning recognition of the essential oneness of all things and their appearances endows creative effort with a fundamental inner meaning.

No longer can anything exist in isolation.

We perceive every form as the embodiment of an idea, every piece of work as a manifestation of our innermost selves.

Only work which is the product of inner compulsion can have spiritual meaning.

Mechanized work is lifeless, proper only to the lifeless machine.

So long, however, as machine-economy remains an end in itself rather than a means of freeing the intellect from the burden of mechanical labor, the individual will remain enslaved and society will remain disordered.

The solution depends on a change in the individual's attitude toward his work, not on the betterment of his outward circumstances, and the acceptance of this new principle is of decisive importance for new creative work.

Art is a profession which can be mastered by study. Schooling alone can never produce art! Whether the finished product is an exercise in ingenuity or a work of art depends on the talent of the individual who creates it. This quality cannot be taught and cannot be learned. On the other hand, manual dexterity and the thorough knowledge which is a necessary foundation for all creative effort, whether the workman's or the artist's, can be taught and learned.

My mother always told me “They can teach technique but they can not teach talent.”

Analysis of the Design Process

The objective of all creative effort in the visual arts is to give form to space

Although we may achieve an awareness of the infinite we can give form to space only with finite means. We become aware of space through our undivided Ego, through the simultaneous activity of soul, mind and body. A like concentration of all our forces is necessary to give it form. Through his intuition, through his metaphysical powers, man discovers the immaterial space of inward vision and inspiration. This conception of space demands realization in the material world, a realization which is accomplished by the brain and the hands.

The brain conceives of mathematical space in terms of numbers and dimensions. . . . The hand masters matter through the crafts, and with the help of tools and machinery.

Conception and visualization are always simultaneous.

Only the individual's capacity to feel, to know and to execute varies in degree and in speed.

True creative work can be done only by the man whose knowledge and mastery of the physical laws of statics, dynamics, optics, acoustics equip him to give life and shape to his inner vision. In a work of art the laws of the physical world, the intellectual world and the world of the spirit function and are expressed simultaneously.

Forms and colors gain meaning only as they are related to our inner selves. Used separately or in relation to one another they are the means of expressing different emotions and movements: they have no importance of their own. Red, for instance, evokes in us other emotions than does blue or yellow; round forms speak differently to us than do pointed or jagged forms. The elements which constitute the `grammar' of creation are its rules of rhythm, of proportion, of light values and full or empty space. Vocabulary and grammar can be learned, but the most important factor of all, the organic life of the created work, originates in the creative powers of the individual.

The gifted student must regain a feeling for the interwoven strands of practical and formal work. The joy of building, in the broadest meaning of that word, must replace the paper work of design. Architecture unites in a collective task all creative workers, from the simple artisan to the supreme artist.

Modern painting, breaking through old conventions, has released countless suggestions which are still waiting to be used by the practical world. But when, in the future, artists who sense new creative values have had practical training in the industrial world, they will themselves possess the means for realizing those values immediately.

These thoughts had such a profound impact on me.  To keep on doing what I love to do- the reason I wake up in the morning “I wish to create reality.” Reality as it relates to what is in my head.  I am becoming more efficient but have not truly mastered capturing what is in my head…nor do I think I ever will that is the impossible goal as an artist designer.