Within architecture and technologies there are those (sub-)objects that become the pariah of their surrounding structure. We, the inhabitants, the ab[sent]users of these larger structures deny their existence, ignore their minute and perhaps fragile structure and dismiss their state.
During guerrilla-styled collection sessions I bring these together into forced-art (as opposed to forced-labor amongst individuals of the human species).
It is not a rescue mission though neither a perversion. It is not a hero-seeking mission or the creation of the next commercialized limelight-lid pop star. The objects remain anonymous and even become more alienated from their functionality within their larger environment. They are ripped from their context and zoomed into the oddest of settings, that of the photograph. They are ripped of their technological or architectural functionality; are they naked?
Here is one:
AOS-001
Some captures accentuate habitat errors, these blemishes we wish to avoid, to hide, to shun, and to point out with disdain. Their faultiness become the idiosyncratic signature of the lived space. Their hyper-focus brings them to the status of non-art:
All these and more form The Andre Orphanphorn Series; the pornography of the artificial, the cousins of the photograph; the family members of dead space.
Some architectural orphans are small others are large but only occasionally stripped from their veiling enclosures:
AOS-3
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About jan—animasuri
anima suri (a.k.a animasuri, animasuri, animasuri, animasuri’10, animasuri’11)
animasuri is an ongoing project using technologies as media, text as sound and sometimes visuals as odors. animasuri is trans-media. It is possibly mixed with irony, possibly with salad or coconuts; depending on the gaseous nature of transatlantic chatter.
animasuri is a rational, calculated forecast of the surreal. It comments and reflects on the perceptions of daily experiences while losing all grips with it. It is highbrow on a low hanging belly.
animasuri provides surrealist BrainNnocularZ containing contextual media from teaspoons to nailtrimmings.
Some of animasuri’s forms drink bear, or cuddle beer. Some pick noses, or snooze with pixies. Others tap on keys or rather let them tap on others. Therefor, animasuri is clearly straightshooting vegan.
animasuri is cerebrally monkey-styled.
animasuri browses through the intertwined visual corridors connecting sound art, visual aberrations, appropriationist art, sound poetry and the spoken or written word. As source material visual bits, conceptual queues or soundbites are derived from pre-existing sonic or other materials, artificial creations and digital errors, environmental record-keeping, bio-confabulation and appropriation of context.
animasuri is ex- in the premature sense of the word.
Etymologically, animasuri is a French-like sourir pickpocketing an Anglican feminist Latin soul. animasuri is not French nor English nor American and surely not Spanish or Brazilian; it is homi in a Bhabha-esque swirl. It is balance found in the chaos of established stereotypes while acknowledging male nipples are trans-national and universally misunderstood.
As a reflection of an extrinsically-labeled happily married white Caucasian Judeo-Christian heterosexual Buddha-lover, animasuri finds harmonious solace in Judith Butler’s “Gender Trouble” without any sexual troubling implications.
Politically left-free, animasuri is capitalistically comfy bathing in loyal conservative strands amidst its progressive left libertarian conceptualizations with a-communist socialist twists.
animasuri contradicts therefor is not.
