poetry waveform bench @ LSU
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This bench, digitally fabricated using CNC router and plasma cutter. represents
the waveform of a stanza of the poem "Diamonds in Dystopia" by Vincent Cellucci:
---irrigating minds
-------the one prototype for change
------------more giving systems
Team Leads: Brendan Harmon & Hye Yeon Nam
Team: Derick Ostrenko, Vincent Cellucci, Zak Berkowitz, Daniel Davis, Nasrin Iravani, Matthew Cranney
the waveform of a stanza of the poem "Diamonds in Dystopia" by Vincent Cellucci:
---irrigating minds
-------the one prototype for change
------------more giving systems
Team Leads: Brendan Harmon & Hye Yeon Nam
Team: Derick Ostrenko, Vincent Cellucci, Zak Berkowitz, Daniel Davis, Nasrin Iravani, Matthew Cranney
causeway
Please visit the Poetry Apps page on this site to dig the new media and interactive collaborations I'm currently pursuing. We showed a container version of our interactive poetry app, Causeway, as a new media installation in Louisiana Contemporary 2016 (a statewide, juried exhibition) at the Ogden Museum of Southern Art in New Orleans. (Image taken from the official catalog.)
painting statement
An object, after all, is what makes infinity private.
—Joseph Brodsky
Oil painting is a visual escape from my struggle with the precise language poetry requires. The multiple acts of producing paintings become oblations to the ineffable. My paintings do not express particular meanings but study time and response—of both creator and observer. They furnish haunting, in the Old Norse sense of “bringing home.” I used to title every painting p.s. infinity, but lately I’ve started renaming them for the collectors of my work. After years of observing my productions and offerings, I've developed a peculiar painting Personism, a creative apostrophe to particular owners. I address this apostrophe to the realm of their everyday lives―ceasing omission and creating an "ethereal us," a concept I'm exploring in new work. Riffing on the popular New Orleans maxim “it is what it is,” these titles attend: “it is where it lives.” Painting doesn’t mull; it intrudes.
—Joseph Brodsky
Oil painting is a visual escape from my struggle with the precise language poetry requires. The multiple acts of producing paintings become oblations to the ineffable. My paintings do not express particular meanings but study time and response—of both creator and observer. They furnish haunting, in the Old Norse sense of “bringing home.” I used to title every painting p.s. infinity, but lately I’ve started renaming them for the collectors of my work. After years of observing my productions and offerings, I've developed a peculiar painting Personism, a creative apostrophe to particular owners. I address this apostrophe to the realm of their everyday lives―ceasing omission and creating an "ethereal us," a concept I'm exploring in new work. Riffing on the popular New Orleans maxim “it is what it is,” these titles attend: “it is where it lives.” Painting doesn’t mull; it intrudes.
