Meeting & Visit Summary: NATO Session 3 / BMA Show Visit
Treat them as human- Find out what they are working on - Get them talking - Research them and genuinely compliment them.
- Oscar: Focus on Native/Indigenous narratives and local grounding.
- Dyllin: Focus on hospitality and the "visitor experience."
- Anya: Focus on public interaction and high-engagement strategies.
- Unnamed Peer: Focus on "sensing," educational frameworks, and scientific crossover.
- Workshop ("Make Your Own Divinity"): Proposal is functionally complete. Final requirement: one (1) additional high-quality image.
- Installation ("Immersive Clouds"):
- Logistical Risk: High. Soundscapes are noted as a "nightmare" for museum acoustics and bleed.
- Conceptual Feedback: Currently perceived as "light" or potentially "naive."
- Directive: Introduce visual tension (not necessarily negative, but a point of variety or contrast) to elevate the work beyond a purely aesthetic/pretty experience.
- Painting Series ("Divine for All"):
- Concept: Transitioning hair into shapes inspired by String Theory and outer space.
- Feedback: Concept is strong; provides the "heft" required for museum-level scrutiny.
- Contextualization: Requirement to identify a "Lane" by researching contemporary artists.
- Parameter: Avoid artists who achieved fame in/before the 1950s. Focus on current market language and contemporary peers to bridge the "Art School" knowledge gap quickly.
- Titling: Acknowledge that titles are currently placeholders. Final titles should be developed toward the end of the production cycle to reflect the matured philosophy of the work.
- Primary Objective: Focus exclusively on "nailing" the next body of work for Chashama.
Session #2 (Feb 23rd) Summary
Discussed the MOMA artist party concept and my current body of work. It was awesome. Got concrete feedback on both the event and my artistic direction.
Actions to Take
Actions to Take
- Create an image or sketch showing exactly how the layout will look so it's clear I can execute it (tables, stands, etc)
- For the event, Make sure the outfits are top notch and look amazing
- Stay on top of contemporary art exhibits to check what is being done and find many artists I like
- Add to my materials: a quick description of the show size, number of pieces, and requirements for another curator
- Get someone to write press about my work so I have quotes and coverage for my slide deck
- Homework: Who are they? Narrow my divine creatures concept down to a specific divinity rather than speaking about them generally
- Consolidate my painting styles from five down to about three - we reviewed Basquiat and Wangechi Mutu
Session #1 (Jan 26th) Summary
In my first consulting session with Nato, we focused on the scope and specificity of my work. He thinks my strengths are in composition and color use. He observed that the Big Bang Baby is too broad. Key direction moving forward is to be specific: specific in subject matter, references, approach, or material.
Nato asked which artists I feel aligned with. In discussing Mickalene Thomas, we talked about how her work often centers very specific women, frequently drawn from her family or personal life, the figures are very flat, the surrounding is abstract, collaged, ornamental, and jewel-like. The specificity of who these women are grounds the work and gives clarity and power to the abstraction around them.
With Firelei Baez the specificity lies strongly in topic. Colonialism is a topic interesting to others, even as the visual language remains expressive and layered.
With Frida Kahlo, he talked about tension. Example the pieces that look loving but dark at the same time.
Klimt is old but similarly, the figure becomes an entry point that allows the surrounding abstraction and material excess to unfold. I LIKE EXCESS.
Nato talked about contemporary art’s self-awareness. He noted that much contemporary work is highly conscious of being “contemporary” and of being observed as such. In contrast, he described my work as very sincere (less performative or ironic). I don't know if this is a strength or a negative.
He also shared that many artists who later become widely recognized often “make it big” because of one very specific thing they did, even if their practice later becomes more abstract or expansive.
Next Steps
Nato asked which artists I feel aligned with. In discussing Mickalene Thomas, we talked about how her work often centers very specific women, frequently drawn from her family or personal life, the figures are very flat, the surrounding is abstract, collaged, ornamental, and jewel-like. The specificity of who these women are grounds the work and gives clarity and power to the abstraction around them.
With Firelei Baez the specificity lies strongly in topic. Colonialism is a topic interesting to others, even as the visual language remains expressive and layered.
With Frida Kahlo, he talked about tension. Example the pieces that look loving but dark at the same time.
Klimt is old but similarly, the figure becomes an entry point that allows the surrounding abstraction and material excess to unfold. I LIKE EXCESS.
Nato talked about contemporary art’s self-awareness. He noted that much contemporary work is highly conscious of being “contemporary” and of being observed as such. In contrast, he described my work as very sincere (less performative or ironic). I don't know if this is a strength or a negative.
He also shared that many artists who later become widely recognized often “make it big” because of one very specific thing they did, even if their practice later becomes more abstract or expansive.
Next Steps
- Do exercises with new materials and play around with other things outside of the studio
- Generate 10 possible directions, disrupt studio habit and go outside
- Explore specificity in topic