Big Things Coming Soon

I took a studio Sculpture class in college, which proved to be the most difficult class I’ve ever taken and marked a shift in how I approach and view the world.

For a three-dimensional work to be resolved and ultimately “successful”, there are formal qualities to be considered beyond or to a greater degree than two-dimensional works: What materials or media are you using, and why? What is the cultural context behind the production, display, and distribution of each material used, and how do these coalesce to further the meaning of the work? How does the meaning of a material change when juxtaposed against another? How big is the work in each direction? Why this size, why not bigger or smaller? How should someone view or interact with the work? How can the work be displayed to support or encourage this interaction? These considerations compound in complexity when thinking about a kinetic sculpture or performance piece: Why this movement or action? Does it repeat? Why? Why the human body as a medium? What can be expressed through the body that cannot be conveyed through other media? These are only a few questions commonplace in art criticism and studio practices.

While these formal decisions were certainly explored and contextualized in my coursework as an Art History major, I could hardly begin to appreciate how difficult it was to make a conceptually sound work until I was attempting my own. Like many others who underwent similar studio training or are self-taught in this line of artistic inquiry, all of my creative projects have been informed through this lens. And, more broadly, I think many aspects of life should be approached with similar reflection and intention. Though I haven’t made much “art” in the traditional sense since graduating from undergrad and moving to New York eight years ago, I’ve enjoyed treating my career as my primary creative practice (you can learn more about me and what I do here), and so far that has been fulfilling enough on its own.

This leads me to the intention behind I Live in the Twenty-First Century. To put in clear terms: I miss researching and writing. I miss sharing my ideas. Over the years I picked up and put down many writing projects on a number of my disparate interests, but was never able to find a format that felt resolved or could support a cohesive body of work. How can I share my insights on consumption and historical materialism drawn from my experiences in the art world alongside my detailed documentation of the splintering of Frasier shitposting groups on Facebook in the summer of 2020 in a way that makes sense? I could never satisfyingly answer this question. After much mulling and a belabored gestation process, I’m pleased to share that I Live in the Twenty-First Century is my attempt at an answer, which I’m excited to build into my ongoing creative practice. As a free Subscriber, you can expect to receive critical analysis and considered, explorative discourse surrounding the arts, fashion, and pop and internet culture, as well as long-form personal essays and thematic recommended readings.

I hope you’ll consider subscribing and joining me on this journey. Big Things Coming Soon!