The process behind these works is a simplistic, non-obtrusive and intangible media technology hacking with an abstract artistic result. As in a petri dish one can culture microorganisms, these works are a culture of media.
This is a first selection of a series I have entitled “architectural orphans:” abstractions of ubiquitous but ignored nooks, cracks or micro objects in otherwise often visited locales. I aimed to focus on small deteriorations or faults within these same architectural structures.
These catalysts for abstraction are parts of common architectural objects Within Beijing buildings (i.e walls, doors, closets, etc) combined with the play of light and shadow presented within the original spacial setting.
The photographs were taken in a guerrilla-styled low-profile manner. Error upon error, while not creating inferiority but rather establishing grounds for new creations; new artistic life.
Their oddity of spacial sensation is abstractly and “organically” created by the deconstruction and recontextualization of their source (i.e ripping away walls and shadows into small contrasting strips of minute color and flattened texture) and the “hacking” of the media.
The source images were used as raw material within an organically following editorial process. From a linear techno-centric point of view this process evolved in an unorthodox manner; a manner unintended for the surface purposes of the used media (i.e. the standard software & hardware of the used mobile machinery). The unorthodoxy lies in the fact that these sources were manipulated by using this 1 technology in a manner it was not supposed to be used (in this case the simple camera function within an iPhone).
I enjoy the tension between their banal heritage (i.e a unimpressive wall) and their mysterious abstraction they resulted into.
The process was finalized while on the move from one location to the next by animasuri’11 within Beijing during the month of March 2011.
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.
