This work is part of my study on abstract views on transmedia narratives.
Via its minimal nature its media and content is ripped out of the hands of high-tech constructs or large budget story telling.
This digitized and digital work found its media-carrying source in the analog, discontinued by its frame; in canvas.
The source media was an oil painting’s hidden side; it’s B-side. That side of a painting that remains unspoken or unheard.
There is a story: seemingly more textural than textual; it is geometrical, it is spacial. It is one about genesis and relations.
It is an abstraction of story telling. One of an unwanted bastard twin-brother. A darkened and silenced side inherently linked to the brightened glory and illuminated fame of its branded reverse twin-side, creating a surreal narrative tension of one of two twins that is born out of a relationship between the painter and the paint. It is a story about untouched canvas, a story about the maximized potential not yet (if ever) brought to fruition; or is it given story definition here?
Here is a family picture.
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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.
