go slowly around the outside
intro This is a zine about play - playing with your aesthetic intuition. Whether that be reading and looking and discussuing the zine or pulling out the pages and arranging and curating the images for yourself on a wall, on a ceiling, on a floor, on a door, on a tree the decisions are endless, and up to you. The artist’s in this zine have been invited vary across disciplines and ages to cultivate new conversations in form, aesthetic, and interactivity. They were all given the opportunity to share a statement, if they’d like to, about their work and practice. You will find these in the back of the zine, that way you can spend time with the work before filling in the blanks. In whatever way you choose to interact with the zine, share your experience with me! All thoughts, ideas, questions, and pictures welcome to the email below. Camile Messerley
http://goslowlyaroundtheoutside.tumblr.com/ goslowlyaroundtheoutside@gmail.com @camilemesserley
index pgs. 3 - 4 Skylar Brennan 5 - 6 Silvia Abisaab 7 - 8 Harper Newell 10 Bailey Becvar 11 - 12 Raul Sandro Goana 15 - 16 Kylie McConnell 17 - 18 Ren Seitz 19 - 20 Imani Nixxon 21 - 22 Joey Tuzzolino 25 - 26 Meghan Skevington 30 - 34 Context Front Cover Meghan Skevington + Camile Messerley Back Cover Camile Messerley
put in earplugs
make an exhaustive list of everything
3
you might do and do the list
last thing on the
a line has two sides
5
a line has two sides
QU
QUESTION HEROICS 7
ESTION HEROICS
QUESTI ON HE RO I CS
shake
the 9
this is a poem about dinosaurs
Pangea Pangea i was told to write about dinosaurs are you ready? in the front seat of a yellow chair Logan drives us away lets get drunk and make out lets pee on top of each other and see what color it will turn whats the deal with toilet scented toilet paper anyways? what does your toilet paper smell like? i have a medium rare stovetop in my shirt pocket girl please, your microwave doesn’t even rotate, stop it they say i saw show a giraffe mask in your shirt you dumb bitch my pinky nail just popped the fuck off we drive past a man sir ! your dogs look like tiny snowmen with fuzzy blonde nipples Starbucks is closed 3 bottles of $2.79 and its lit you’re important she says you’re important she turns around from the front seat i respond barbecue is important and so are saracha flavored chips and giraffe flavored masks
vertibrea
a line has two sides
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a line has two sides
remember the quiet evenings
don’t Break
avoid punctuation
their stillness
break the other’s axioms
stare at a wall for four hours 15
get a deep tissue massage and
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and practice kundalini breath of fire
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a line has two
avoid punctuation
On the fourth of we drank beers ourselves strong another sip of we were looking our toe nails at the movies the projector me the bright light to rotate around but the picture the night the fireworks shot we focused not it was all great until you noticed the absence of
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labor as “idea� / (the use of language and capitalism) July and talked about how full our days are how can we make the industry of er beer for some reason to cut our hair and to trim ssed up turning the screen white almost lasted long enough for us returned just as we blinked up only on the fireworks but the eyes reflecting them serintaed by jazz music the moon
Milk
Water
Milk
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Water
add your own thoughts or images here
disconnect from fear
youre sanding 2x4s not building a wall
you can only make one mark at a time
READ
In the following pages you will find selected statements from the artists regarding the context of their work and practice. To help fill in a few of the questions you may have regarding the work shown. If your questions are not answered, maybe the mystery is the answer.
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Skylar Brennen The objective for this interactive performance-based work is to situate viewers in a sensory experience of the Flint Hills. This is accomplished by means of an artist-led walk showcasing the movement of the wind through fabric accessories worn on the body. By wearing fabric sheets attached to the wrists, the participants’ movements become visible when activated by the wind. Serving as a temporary wind station, this somatic experience serves to create a lasting impression on the visitor and allows them to experience a sense of place in a new way. A sound performance is also included in this work. The sound is comprised of a wind chime composition created with bison teeth saved from the Flint Hills. By experiencing the land in a new way, the visitors’ somatic associations will be stronger and have a longer lasting impression that will encourage new interest in the Flint Hills. Bailey Becvar I’m interested in this idea of total freedom when writing. This idea of subverting your reader, pulling something brand new into each line. Completely shattering the readers expectations, both of what will happen next in the poem and the whole idea of poetry itself. Raul Sandro Goana Navigating through spaces has been an interest of mine for some time. We’re grounded by a set floor, and incased by deliberate walls. Following predetermined paths and structure without the acknowledgement of the architect or artists. The camera allows for abstract compositions of space, and light. Capturing the buildings and artist/ architects intentions. Lighting can be a task force to depth and an non physical demential object. Recognizing this allows for a place of conversation. Architects look at things like geographical location and orientation when building on site. So each building no matter it’s purpose or use still has individual artistic qualities that can be just as moving as architecture found in nature and the sublime. It’s just a matter of how and where we choose to point the lens in our heads. So visual cues through a cameras lens allows for a boler conversation in ways of seeing and how those ways aren’t bounded to content or conceptual structure.
Kylie McConnell I use methods of collage and construction to approach ideas about abstraction. There is an artificial quality within my work which evokes moments of space that may appear unattainable. In this current work, I am displacing and recontextualizing sections of road that normally hold specific purpose for our daily use. The work raises questions of significance and function after these moments are displaced and re-presented through the act of editing. Harper Newell I made these pieces at the end of my senior year. Both are water color paintings. In this work I’m focusing on intimate moments. I wanted each picture to depict a human instance that is usually kept very private and make the person experiencing them feel a sense of vulnerability. Imani Nixxon Dealing with the separation of being away from home has really affected me by not having my cultural values around me. I feel the forms of disconnect, the forms of loneliness. I miss the being apart of the culture I was raised in. Creating a evaluation of where my culture originates from. I want to display a conversation of a culture of someone who is different from America. The person being from a country other than the U.S. The images I display talk about cultural differences and hierarchy in gender roles. I use textiles and fabrics of various African prints in conjunction with studio lightening/studio setting. Meghan Skevington My work revolves around my curiosity of humans’ ability to process knowledge and engage in their surrounding environment. A desire to “categorize knowledge” is inherent in my work, i.e., the desire to touch upon broad and vaguely related topics in order to attempt to understand a specific question.. Our digital age proves the perfect milieu where one can rapidly be fed text, audio, and images within the confines of a relatively short time period -- the length of a feature film, for example. The human becomes an object adrift in a transient world, which he understands to be both a virtual verisimilitude and a physical reality. Here the human is both the perpetrator and the victim.
Interview with Ren Seitz Q: Can you talk about your current process? (With emphasis on the piece featured in the zine) A: Right now im going through a transitional phase with my art. Lately I’ve been feeling really connected to my sketchbook and the drawings in it. With this piece I was really working on different methods for translating these drawings into three dimensional objects and thinking about the possibilities of interactivity. I started off by taking different components from various sketches and transferring the drawings onto silk organza. with the long-arm quilting machine I stitched the drawings and was able to maintain the line quality of my sketches. The silk organza allowed me to play with different levels of transparency and color. Q: Can you talk about your color pallete here? A: Yeah! The color palette is pretty basic “out of the tube” colors. I really wanted to stay true to my drawings by using these primary colors. Q: Do you have a playlist for when you’re working in studio? A: Recently, I made a new playlist called banger central; it’s my best playlist yet. It mostly has early 2000s pop artists like: Fergie, Britney Spears, Beyonce, Soulja Boy, Shakira, t-pain; and also a few current artists like Drake and Rihanna, you know, all the bangers. Q: Can you talk about your perspective in arranging and collaging these pieces? A: Right, so each piece is its own module and not attached to the others. ive really been thinking about the potential for this piece to be interactive. At some point I would like to have a catalogue of these different objects that would allow the viewer to be able to make their own compositions with my drawings. I think interactive art is so important and allows viewers to relate to pieces on a much deeper level. The ability to hold and touch art allows for a much more stimulating experience. I think that art can sometimes be kind of sterile and uninviting and I really want my work to be accessible and fun for everyone.
make an exhaustive list everything you might do and thing on the list in the
of do the last last page of
this
zine
thank you
go slowly around the outside