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Oxbow-Revisted Adrian Madlener

To whom it may concern, One might not see the significance of revisiting a formative training or education only 6 to 7 years hence. For the creative development of a young adult, artists, and designer - looking into the past is not merely a nostalgic reprisal but simply a manner in which to mark progress, early influence and nascent inspiration, especial the start contrast is provides between 17 and 23 years old. By effect, revisiting my semester at the Oxbow School in Napa, California during the spring of 2007, has allowed me to place my current achievements and aspirations through the technical and conceptual training and facilitation I received, while also examining my development in essay, thesis, and statement writing, as I currently have chosen to pursue a career in criticism and journalism. The following portfolio of work tracking 18 weeks of artistic development. Achievement and experimentation in the respective domains of painting, digital media, print making, and sculptured are integrated into the research, history, and personal quest written assignments, that coincided with artistic projects. The Oxbow School, in its 15th year, is a unique, interdisciplinary semester program for high-school students. Our mission is to strengthen students’ abilities in creative and critical inquiry by combining rigorous studio art practice with innovative academics. Our vision is for Oxbow students to develop a stronger sense of identity, self-worth, and the confidence to embrace the responsibility for their own learning and lives. Sincerely, Adrian Madlener July 9, 2013

“Where I Stand” March 25, 2007 I am according to the census, a high school student single teenaged Caucasian, with a cat Responsibility of a parent Middle class Healthy, with rare illness Immigrant resident alien Employed I am according to my survey, the youngest child a younger brother the only male cousin my uncle’s godson My friend’s close, compassioned, sometimes fake, odd, and conceded friend down to Earth Sensitive Judgmental Optimistic most of time An advocate for the underdog An advocate for equality A socialist An environmentalist Well traveled Complaining, and quickly frustrated. Different on the inside from the outside Someone to get to know Reserved but willing to do anything in reason when pushed In old man when tired Practical when I have to be

Concious and Unconcious / Self Portriat / Decemeber 2006

How Does One Look At Art? January 29, 2007 This question is very hard to answer since it is so subjective to what a person’s past experiences allow them. The way to approach this question is by breaking it down into personal opinion and what seems to the general public perspective. Factors like; how much art is part of a person’s life and how art was taught to as children, come into play. The best venue that people experience art, no matter how much these factors are involved, is a museum. It is a place where one can observe art and observe others doing the same. Weather it’s a museum in a small town or in New York, there is always a verity of population that move trough these intuitions. The actually experience of looking at art happens on a very personal level what can be inferred is by making connections and by discussing. Personally, looking at art is both a visual experience and then an inter analyses of what is trying to be expressed. Sometimes these two things work well together and create a sort of enlightenment. Sometimes this process doesn’t happen and there is just a raw attraction to the work based on the physical aspects. There are more aspect to looking at and analyzing art, like material used but the actually first impression is how it relates to you and what you find appealing. The general public sees what they see based on what connections they make with there first impression but then it either ends there and the viewer moves on, or the viewer tries to make a deeper connection analyzing it on a large scale. In truth the majority of viewers, no matter how highly they are regarded or regard themselves, always can tell if they like or dislike a piece. Museums are these massive forums where viewers can be exposed to many different styles, forms, and movements in art history. Viewers often find comfort in looking at art that they are familiar with or that automatically draws their intention. It’s all a question of social status and personality The viewing in a museum encompasses a full experience that effects they way the art is viewed. The interaction that goes on between viewers is very influential to the experience; it can change the way the atmosphere effect the viewing. Museums bring in a wide range of ages and usually that can change the amount of perspectives and alter the discussion with in that interaction. The viewer is very impressionable especial those who don’t feel comfortable in museum setting or in front and the diversity of viewers. This experience can both be appreciated and disliked. Art can be interpreted on the levels presented earlier, trough first impression and analyses. It isn’t as if there is a level or grade to how in-depth an analyses can go, It can only be judged by how close a connection or relation It makes, or how close it is to what the artist historically or at the time is trying to convey. Certain work allows for more open interpretation and other is very much to the point. A good balance of ambiguity actually can help conflagrated the ideas and concepts that the artist is trying to show. Viewing art and interpreting it in its many convoluted realms is such a daunting and endless area of though but it always brings great personal outcomes. There are certain negative aspects that come with this phenomenon, like what is considered tasteful or colorfully correct. What needs to be focused on is the balance of aesthetics and concept.

Oxbow School January / Feburary 2007

April 19, 1905 / (Einstien’s Dream by Alan Lightman) / January 2007

Artist, Who Use The Idea Of Place: Thomas Demand Feburary 9th, 2007 Demand was born in Munich, in what was West Germany, in 1964. He attend a few different schools while studying art including the Akademie der Bildenden Kunste Munchen (1987 to 1989), the Staatliche Kunstakademie Dusseldorf (1989 to 1992), and Goldsmiths College in London (1993 to 1994). He became well know while showing his work in Munich starting in 1992, he showed in Paris, London, and Brussels shortly after. Since his work was so different it gained notoriety quickly in Europe. His first showing of work in the United States was at the MoMa in 1995. He also gained famed in the United States quickly, having shows in Santa Fe, and Pittsburgh. In 2004 his work was in the Bienal de Sao Paulo. Making Berlin his home currently he keeps a second home in London. As a student, studying with Fritz Schwelger, he used a lot of ‘throw away materials’ like cardboards, tinfoil. This was a reaction to the monumental grandeur given to Academic sculpture. He was told to study photography, which he did, studying with Bernd and Hilla Beacher. In an interesting conclusion to this change he realized that moving into photography helped him realize he was more of a Sculpture. His work does uses these two element. He is known for taking old photographs and recreating the scene life-sized with cardboard. After the process of creating gigantic models he retakes the photograph. The result of his work visually is that the scene in recreated in more of a fake manner, cleaned up and very monotone. He has done a recreation of a large diving boards and the scene of surrounding it, as well as a recreation of the bunker that Hitler was almost assassinated in. He is the perfect example of an artist who uses space on both a holistic and visual level. His process in which he is trying to recreate a place is very indicative of and requires thought about place and what elements are important. Visually you can understand space and place better as it only shows the human-less shapes of that place. In terms of history and photography trying to capture a moment in time he brings it to the idea of place, as it is the only focus of his work. Hitler’s bunker is simply an office with clear evidence of a bomb having gone off but the space seems so normal it isn’t personified by the person who used it and it isn’t stained with the horrors associated with that person.

Artist Poet Comparison: Jim Dine and E.E. Cummings Feburary 15, 2007 Artist and Poets alike use many different techniques and manifestation of meaning that connects the visual aspect to the contextual messages of their work. One of these techniques addresses the question of what is on the surface that both Jim Dine and E.E. Cummings use to balance their work and to engage the viewer. Contextual, the question can be used to look at issues like the balance of what is underneath and what is up front. Visually, this idea creates depth and can explain the contextual reasons of a work of Art. This idea can be broken down more than just visually and contextually; it can be analyzed through the means of how theses two artists play a ‘game’ with the viewers. This ‘game’ can be describe as a process that the viewers struggle through in trying to understand what the meaning is. The idea of layering is the strongest way this question of what is on the surface is used both visually and contextually. Movement and action in the textual work of Cummings and in the painting process of Dine support this idea of surface on a visually level. Jim Dine’s Double Red Self-Portrait and E.E. Cumming’s Impossibly are good examples of their use of surface in their style. Both artists use the technique of layer to show two images, the literal interpretation, and the deeper meaning. The technique of layering in Cumming’s Impossibly is evident in the elements of odd description structures as is the dark mood of the story being told. In its convoluted descriptions, it tells a very complex and difficult to understand story. While this poem in confusing it can be looked line by line to first pick a part the story and then to build up the meaning. The first line offers one word to set the tone of the story. “Impossibly” refers to the intangibility of this story and all hints at a superficial layer being present, this line is also considered the title. The next line, “Motivated by midnight, literally sets the time by mentioned that it occurs at night but I also refers to the notion that midnight has an implication of mischievous and much less aware or sober reasoning. “the flyspecked abdominous female” offers both a contrast, in the sense that it breaks up the soft mysterious mood, and a connection to the previous line, by continuing the idea of the night being a less realistic and indulgent time. Bluntly this line refers the cliché of “hooligans of the night,” only the strange characters come out at night. This same image follows through to the next line, “indubitably tellurian,” in the sense that this character is obviously living and acting based on terrestrial instincts. “Strolls,” offers the first action, that contrast with the next action because it is much more mundane. “Emitting minute grins.” This is the most striking line of the poem, it offers the reasoning for the poem. The fact that this women is strolling in the middle of the night, grinning seductively most likely at the narrator of this event, shows that this is an issue with that idea of what’s really on the surface. The next stanza offers the description of this action. “Each an intaglio,” refers to the fact that this grins do leave and impression but also on herself, “has also carved upon her much.” The next two stanzas of the poem offer the confusion, not necessarily making it clear where the story is moving. “too white foreheads a pair of eyes which mutter thickly (as one merely terricolous American an instant doubts the authenticity” In this stanza there is evidence that a second character is introduced and is non verbal communication with the first character, it could also be that the primary character is having a double identity conflict. In either of these seniors, the first character is being question for her authenticity. “Antiquities relaxing hurries elsewhere; to blow incredible wampum. This line ventures away from the conversation that occurs earlier in the action taken by the first character, who deiced to not dig deep and moves away to forget. This story is obviously expressing the issue of superficiality. Cummings used this technique of layer through the way he tells one story and makes it difficult to understand the really underneath story. Layering applies to Dine’s Double Red Self-Portrait in the way that his message connects to the meaning of his work. This painting shows two overcoats in there own space linked by the small element of a white stool. One is filled in with the same or a similar color as the background but the second one is left for the most part in the contour with a white surrounding. Layering is almost the exact description of

what is occurring in the physical aspect of this piece. The first overcoat is completely filled in with almost the same color as the background, its practically faded in, while the second overcoat is completely exposed and contrast with its background. Dine is showing two layers of what surface is. As the second coat shows the contour we realize that there is something about how what we put out of ourselves in the world might not be what’s inside, this is the idea of transparency and opacity. The visual helps develop the meaning for the viewer in that it manifests itself directly. Movement and action express the idea of surface and concealment in both of these works in the sense that they help stimulate the reoccurring idea of having to struggle with the meaning. In painting, this done by the use of brush strokes, the rough application of color, and the intentional rough marks. In poetry this done by creating a visual art work out how the words are place or using works in way that create a visual action or movement. Cumming, in this poem, use both formatting and textual elements of action to create surface. Impossibly has many examples of both his style of formatting and the way the elements of movements are used in his work. The poem is structured formally compared to Cumming’s other work. The most important part of the movement in this work is the way he gives importance to certain phrases such as “emitting minute grins” And also the way he breaks down clumping of words. The flow is also important as the reader traditionally reads in a certain trained way. In This way of breaking down, he gives more importance to the begging line of each clumping. This, in process, adds to how the surface effects the meaning. “Muttering thickly” is an example of how action is shown textually. It helps with the process of breaking down the story and using each phrase to make connection in the context of the bigger meaning Dine’s use of movement and action in Double Red Self-Portrait is present in terms of his process and the evidence of that process. Visually his uses of vivid colors and heavy contrast help make the distinction and comparison that spark or support the process of thought to find the meaning. In this piece the contrast in the erased area around the second overcoat that reviles the contour is very rough. This express the idea that the erasing mark happened to reveals something raw about the inner layer of the coat. In this piece he leaves elements of his process which show the actually layers of his process. The connection between his process and the meaning is a good manifestation of surface. The use of concealment through the aspects of layers and movement represent surface through Cumming’s and Dine’s work. The analysis that occurs is the process that the artist is trying to get the viewer to go trough is to come to a larger realization. This might be an explanation for the ambiguity of both of these artists work. It based off of the idea, that struggles have greater result. In Art the balance of the meaning and the visually manifestation is what makes it great or not, both of these artists are able to do this well. Surface is something that can be connected personally, and that is the reason that theses works are important and well known,

Oxbow School Studios / Feburary 2007

Observation / Leaf Study / Feburary 2007

Botanical Study / Feburary 2007

Botanical Project Reflection Feburary 19, 2007 Off the bat, I enjoyed this project, not in any artistic way but in more of an accomplished way. I think this reflected in my process and my effort, those two things work well together. Being relaxed and in an odd way enjoying the process and the momentary accomplishments is very gratifying. I gave myself time too work on it and not to rush myself. Thought it did get to be a bit tedious, since I completed the entire assignment in one sitting, I took breaks and came back to it fresh. This way of work is the best way I work because it is a balance of completing things timely but also being comfortable and not overwhelmed with it in the moment. Because of all of this, I think I gave a very strong amount of effort, mostly in the bigger drawing a description. The other drawings, I think were more of a challenge in the fact that they require more attention to detail and patients with the pencil I was using. I can admit to the fact that I gave less effort to those three drawings just focusing on the details and worrying about the shading. In other words I just tried my best to get the details as accurately placed and sized. I am not saying that I totally disregard them, just that I happened that my amount of attention was less then in the big drawing. In think overall, the feeling I got from the amount of effort I put in was such that I couldn’t really work on anything else with any enthusiasm. In terms of details, I spend time I being very mindful and observant of each steam and line to the best of my ability. There is no doubt that I was looking to get something almost perfectly the same as the actually leaf and proportionally correct. There is a certain point at which you have drawn the same the line seven times and begin to not see the line at all that you need to be happy with something that looks correct. The human eye, especial the artist who is looking back and forth constantly, can see things differently very quickly. For me when I found myself in a situation like that in the actually transferring on image information, on to paper, I would take a break or work on another part of the drawing. Making it look right I looked a how the edge of something was further then the stem coming up. Those sorts of comparison help make the details correct. In terms of getting very detailed in didn’t get to a point where I was looking at the minuscule lines that make the surface of the leaf, but I did get to the point where I was drawing third level stems, this being the stem coming of the secondary stems. I think the major thing I did was look for line detail instead of shading and surface value. The difference on the leaf was extremely subtle in difference of color levels and was even more difficult to represent with just graphite. I think for leaf the major details are the lines and that is way I focused on that aspect more.

Oxbow Outdoor Observation / Feburary 5, 2007 Sitting out on the grass that feels richer and thicker than the type back home I can smell the fresh air, something different. I am increasingly bothered by the way the grass is irritating by ankles. It’s long blades rube against the tender part of my skin with that unsympathetic attitude. It’s stoic and just is what it is. In the same respect, It can’t respond to how we’ve manipulated it for own visual pleasure, Getting trampled it’ll break, there’s no emotion, no up or down, for the blade. I am at is jagged edge looking sometimes out at the Napa River, sometime in the two other directions, side to side, and sometimes at the sky above me. I am interested in getting a whole sense based interpretation of my surrounding. I am periodically closing my eyes so that I can heighten my smell and touch, hearing plays in but I am trying to tone it out so that those two get more focus. I think that sight and hearing match up and the two others are in a sort of subconscious realm. I lay down for blocks of 5 minutes to see if that that changes anything. On the Napa River, I can’t help notice the weird contrast of the serene nature and suburban sprawl of Napa city. The corner that oxbow and Copia creates is vastly different from the rest of this town, a nice alcove in a beat down part of Napa. The river is not a nice color but the air is very different, its smell like the air of a national park in the mountains. It is much more breathable. The subconscious senses reveal the sounds of the town, as does the bridge down the river. I noticed the garbage truck stopping to collect garbage. That constant hum of Third Street behind me and downtown to the left doesn’t die or fluctuated, it remains the same and slowly drones out while I focus on what I consider the ‘nicer’ and ‘quieter’ element of the surrounding environment. I am shifting from a real intense observation of my surroundings and my thoughts. I am coming back to the view of my hands breaking these small water drop shaped leaves. I am drifting in to my worries and my sober euphoria. I am trying to stay focused on my observation, I can retain picture of what I am seeing when I turn left and right. One image is of my classmates spread out on the green. I see one of them out down on the edge of the water and another one is intently staring at the ground. They’re all on the same level of quite reflection. I notice two kayakers on the river moving slowly and very closely to the other shore, almost as if there bird watching. I then look down wondering which way the river flows, which I discover doesn’t. The one plant floating in the muck stays in the same place, I began to wonder why its called a river as rivers are supposed to flow in a certain direction. It’s interesting to trying to see something different in what I’ve been looking at for more then ten minutes. Laying down I noticed the top of trees as if I am trying to frame a piece of art or photograph. I hear the call of the bird and finaly see it pass overhead. The sky’s color is more noticeable as I began to realize the many tones of blue. It begins to look like nothing and I began to meditate in a very awake reality. I feel as though I a forcing an intense focus on feeling and observation but it doesn’t return, until I realize that I need to let it go, easily. It’s hard to forces a reflection, especially when there distractions like people walking by, talking. I decide that my reflection ends in a realization that even with the amount of work I have, this place allows me to relax and take in as much as I allow myself. My observations give me a good idea of what is really here, just with a intense emphasis. The intensity of that observation is equivalent to a month of passing by and observing the same place. It’s a question of interpretation and how much you think or allow yourself to think about the images an observation creates in your mind. Information that a website gives can be similar or not to what a place looks like. A photograph allows for the frame and the lighting to change the whole mood. When you look back at that website after having a full 4D observation of a place, it makes sense and doesn’t seem deceiving. The Oxbow oasis in Napa makes you want to stay here and when you want to alter your world or the repeated image of this place, walking down the street changes it quickly.

Chard Study / Feburary 2007

Artist Who Uses “Place”: Jeff Wall Feburary 14, 2007 Jeff Wall is a Canadian photograph, born and living in Vancouver. Having lived and worked in that city his entire life he is very knowledgeable and connect to that city. He is a key figure in the vibrant art movement that has been occurring in that city over the past few years. One of the areas that he was involved in was the Photoconceptualist movement that Vancouver is known for. His work mirrors both the spectacular element and the rundown sprawling elements. Also the urban decay and featurelessness, something he calls “Terminal City”. Having done his postgraduate studies at the Courtauld Instuite in London, he was very much influenced by classical painterly composition. This realm of art is not what his style reflects. His work is based on very social and political issues, such as urban-based issues. The work that is he is most notable for, is the ‘cinematographic’ (staged) images that have very vast but realistic backdrops. These images always have elements of human conflict and are always very large in size. More recently he has been creating light-boxed transparencies, the idea he developed from back-lit advertisements in Spain. “Overpass” a photo that he took in 2001, is a good example of his style. The backdrop is very vast and expresses the idea of urban decay and sprawl. The human subjects are in transit and seem to not be involved with the photo taking, as there backs are turned to the focus. The realistic elements shows three people-carrying suitcase in what seems to be the subject of traveling. The differences in the people plays on a social issue but the idea that they are all together the only humans going over this overpass, is odd. The only other element of life is in the center left corner, a small freight trucker.

Studios & Napa River / Feburary 2007

Place / A Place In Memory / Feburary 2007

Considering Imagination/ Feburary 20, 2007

What is “imagination”?

Imagination is something that seems to have a very simple definition but truthfully, once it is examined closely and thought about, it becomes something more complex. The very up front and iconic perception of what we think it is, is of a very ambiguous fantasy based images that comes out of unknown. The most vivid image of how imagination is superficially conceived is of a pop up bubble out of someone’s head with a very ‘misty’ and ‘dreamy’ occurrence. It isn’t that imagination has nothing to do with dreams; in fact the most established imaginations is a result from dreams. Dreams are generated from real situations, so the idea that imagination is not completely ambiguous and unfounded, is false, there has to be some connection to consciousness. Imagination is something of dreams but also of hopes, wants, and needs, mostly falsely realized when in reality they cannot be. How might our imaginations be catalyst for social action? I think in contrast to the idea of dreams and hopes being false realities the majority of time; there are parts of imagination that can be fully realized. This sort of action occurs by the effort of obtaining needs and wants. Every historical advancements that has come out of a revolution has been realized from an imagined situation but that has been based out of a reaction to something wrong in the mentality of society. Dr. King’s famous speech was called “I have a Dream,” which sparked or enhanced a change in the American mentality. His dream came out of imagining a better situation for not only African Americans but for all Americans. Its possible to identify this quality in all revolutionary leaders, with out the hope and the imagination process there is nothing to look to or base an argument on.

Is Observation a Necessary step in the imaginative process?

Observation, in the sense that imagination is derived from realty, is the best tool in the way of enhancing or sparking the imaginations. Also in way that social action is substantiated by dreams, observation is key to how revolutionary leaders and supports react to a constant in their society that isn’t right. Lenin had to observe that the Tsarist Empire in Russian was not social correct and wasn’t the complete opposite of what he had imagined, not originally, as being the correct socialist society. Usualy people have joined movements because of extreme observations of how wrong archaic social standards are, either by being directly effected and realizing the difference, or by being subjected to observe such situations. Any body, who visit an impoverished nation becomes an advocated for how wrong there situation is, because they imagine there on situation in a comparison to how they live. No matter, how open and aware of cultures, Westerners go into undeveloped countries and imagine that the way things could be better is by imaging there own way of living, in terms of physical elements, and imitatively places a recreation of their own situation on the impoverished situation.

Should artist carry social responsibilities?

In the literal description of responsibility, it isn’t the artist responsibility to help spread a message of surfing or negative social situation. Since this idea is so personal, An Artist can be working in a time period where their surroundings are in very bad off and not be making art based on that fact. There is so much more that plays into this scenario, like the fact that artist might be disconnect from the reality of society. It is clear that it isn’t any artist responsibly to express what is happening externally, there are those who solely work internally. It’s the same idea that not every artist in a time period was part of the Artistic style associated with that period. Artist are not automatically politicians or activist, thought they can be are the most sensible to be so. It’s a question of giving a role and making a general statement to such a large range and group of people.

Adrian / Feburary / March 2007

Napa / Sonoma Valleys

Project Green Space: Urban flooding March 18, 2013 The Urban Flooding initiative will be a demonstration of what would occur if the sea levels where to rise to 7 meters (as predicted) along urban seashores. This project in it form will be replicated in 6 cities worldwide but will vary in the style and architectural aspects based on the customs of each specific city. Though it will not directly aid the issue, it will create awareness to the possibility to this manifestation of global warming. In each of these cities, a site will be chosen based on its location and proximity to the city’s center. Preferably the site will be an empty lot, a block that has not been developed, or that is in transition. In other cases, squares or plazas with larger open space will be used. It will also be relatively close to the city center and not in a residential neighborhood. The cities chosen, Alexandria, Amsterdam, Buenos Aires, Miami, New York, Kolkata, and Shanghai, are all in areas that are extremely vulnerable to either complete flooding or more then 50% coverage. They also provide the jarring evidence that global warning’s real affects will create major devastation in these metropolises. For many reasons, huge cities have been developed around water because original transportation was aquatic. The actual installation will simulate a flooded urban scene, with the intention of creating a stark contrast; from the present to the possible future. A tank will be approximately 25 feet high, and depending on the area anything from 120’ to 100’ by 75’. Behind the actual tank structure there will be the facilities for the machinery to pump in water through a large drain. The water when drained will be retained in a second, underground, tank. The idea is that over the course of an hour the water will flood the ‘urban scene’, stay that way for a week and then drain out to be cleaned and serviced, it will then be flooded again. The tank will be clear so that viewers will be able to compare this situation to the rest of the urban landscape surrounding it. Inside the ‘urban scene’ will be a staged, completely realistic, street corner setting with elements of trees, cars, lamp posts, and a life size representations of a human. The idea is to make it look as realistic and as seamless as possible. A building’s façade will be built but to make it feasible it will be no higher then three levels. This could become an aesthetic issue, depending on the lot chosen’s surroundings. It would most likely be resolved with an extensive study of the architecture around the area chosen, so that the building façade built will match up with surroundings and the street elements. The difference between the installations in each city will be the street corner elements. For example, in Amsterdam, the style will reflect the Dutch Architecture and the car will be European. In New York the building will either reflect the styles of skyscrapers or a Brownstone and the car will be American. The element that will be the same is the flooding and the surrounding clear tank structure. A small info booth will be placed in proximity to the tank, providing information on what would be the effects of flooding in these cities and the things that can be done, so that this situation doesn’t occur. Over the course of a year the scene will completely decay, to show that the flooding will cause damage and that the situation could be real. The intention is that the viewers will see what the future will look like if certain things do not change. The idea is to spark awareness in all people passing by these public statements and to be shocked into realizing what there world will look like, maybe not in their generation’s but for a good portion of their families and communities’ lives. Though this initiative doesn’t address the issues on a human scale in terms of relocation and chaos it will initiate a discussion and that will move into action. The community that will be viewing this artwork will be the urban populations that already use these areas and pass by on a daily bases. It might even draw in tourists who are visiting these cities as well. The logistic of this project are more complex but make this idea feasible. The main issue is the funding. The project will be funded by different organizations that deal with issue of climate change. The Kyoto Protocol will mostly fund it, this means that funding will be pooled from the governments who have signed this treaty, but mostly from the governments of the cities. Since the United States has not signed

this treaty, The Public Art Fund with grant the funding missing for the Miami and New York installation. Private Donation will be a smaller portion and will not be mentioned on any placks or information surrounding the installations. Since this initiative is not a direct charitable cause, no public donation programs will be put into place. Another issue is the enormous amounts of energy that pumping the water will require. The solution, so that this project is not hypocritical, will be to have solar panels behind the tank. It will not be visible so that it doesn’t detract from the installation. To build these installations, scaffolding will be built around the site, so the construction will not be seen. It will be revealed over night so that the next day, the reaction will be greater. The materials inside the tank will need to be extremely waterproof but not necessarily decay proof. The materials will vary for each of the sites due to accessibility and also the fact that the visual element needs to match up with the soundings.

Works Consulted Braasch, Gary. “World View of Global Warming.” 2007. Viewed 17 Mar. 2007 <> “Effects of Global Warming.” Wikipedia. Viewed 15 Mar. 2007 <> “Flood Map.” 2007. Viewed 13 Mar. 2007 <,103.6848&z=5&m=14> “Global Warming could flood New York City.” CNN interactive. 7 Apr. 1998. Viewed 15 Mar. 2007 <> “Global Warming.” National Environmental Trust. 2006. Viewed 19 Mar. 2007. <> Gommes, R. “Potential Impacts of Sea-Level Rize on Populations and Agriculture.” SD Dimensions. Mar. 1998. Viewed 19 Mar. 2006. <> “Sea Level Rising Near Shanghai.” People’s Daily. 5 Jul. 2000. Viewed 17 Mar. 2007 <> “The Science.” An Inconvenient Truth. 2006. Viewed 15 Mar. 2007 <>

Berkeley / Feburary 2007

Artist Using The Human Body Through Sculpture March 9, 2007 Tim Hawkinson, who is know for playing with the idea of machinery, applies that theme cleverly to the human body in many different examples. One of these examples that he is well known for is Emoter. Which shows the viewer a portrait of himself but with many broken layered pieces moving with add of small motors, representing the areas and parts of the face that can be flexed or moved. He provides extremes in the fact that the imbalance of expressions makes the portrait look strange. This jarring appearance makes the viewer think about how machines are related to our being. The artist here used the element of photography but the sculptural element is that the machine wich powers the motors is shown with the portrait, similar in that way to a Rauschenberg Combine. He also provides the elements of the motors on the photograph in an all-reveling provocative way. He only leaves the question of what it means to be dealt with. When the viewer makes the connection like in many of his other pieces they realize the material is important to the concept. This is where an artist is the most successful, through providing connection to the material, the image, and the concept. It is important to look at the way this type of work is perceived ecstatically; in this case Hawkinson is able to make a balance of concept and the ecstatics. Michelangelo is an artist who used the body but purely on a visual level though there are stories behind this work based on myths and biblical reference. That is very different from a message; Stories are specific, where messages are larger and more personable. Michangelo’s David is an example of a story being the deeper information but is the most important example of anatomy and the connection to art. Its provides the classical understanding of observation but has set the bases in the time it was maded but also today for what is the ‘perfect human form’ and how all artist even the abstract have to have a purely realistic base to either work of off or react to. This piece is the most recognizable of the human form and the use of the human form in art. Kiki Smith uses the human body to express very personal issues but that the viewers can relate to as well. She has the perspective of a female’s voice, looking at the how human body is viewed and maybe to the extent of how women’s bodies are looked at. I think this element in the way that she makes the focal point of her sculptures; the breast and the reproductive organs, while make the face and the rest of the body more ambiguous. She uses the human body to express a straight on political and cultural issue while still having it be personal. This is also key to having successful work. In her work the human body is mostly used in form of a woman but provided the idea of humans on larger scale based on the ambiguity beyond

Fiquring The Body / Layered Section / March 2007

Le Sud / March 2007

Bagdad / April 2007

Mind Map / April 2007

Source Analyses Project: How Are We Judged For The Place We Are From? March 11, 2007 I. How are we judged for the place we are from? How am I judged for the place I am from? This question set was first looked at from different perfectives and then it was looked at personally. This was done through interviews and finding material that gave evidence to both sides of the argument. I am also sub-textually trying to express the fact that the judgment and stereotypes of the place I am from do not represent all of those who live in that area. The fact that I do not fit the stereotypes of my home, gave me the incentive to prove this fact. This question arouse out of a response to being judged for being from the Hamptons. This means that I am thought to be rich, know a celebrity, and spoiled. I went into this project not thinking that it would become personal but it did and for the most part the information I got out of interviews and the source material supported my claim. Before I began the process I knew that stereotypes would be the main sub topic, I also, in the interview process recognized what I knew about the place the interviewee was from was based on stereotype. I think it’s clear that the first level of stereotyping is based on origin and the place someone is from. II. The question was modified through the addition of the personal framing. “How am I Judged for the place I am from.” This question was added as I realized that I generated the first question through observation of how I was judged coming to a new situation like this one. This did not have a direct connection to my interview questions as I was purely looking to get response to the first question to help support the second one. But was the subject of the articles and other sources materials I choose. Both parts of the research are equal important The sources material process began with the intention of finding a very general article about the “Hamptons,” I found a wikipedia article that addressed the idea of the Hamptons as “Americans summer playground” instead of giving specific information about the geography and demographics. This article gave me the general scope of what the Hampton are thought to be. I choose this to show the reality of some of the stereotypes of the Hamptons. The idea is to build a profile of the Hamptons, the sources I choose capture both sides of what the Hamptons are. I selected the evidence that provides the stereotypes and the proof for them but also the evidence that the Hamptons is more the just those stereotypes. The interviews purpose was to find trends between different interviews but also to find out how stereotypes are manifested and how the stories. It was also so that I could relate the information and have it help my argument and answer my question. The questions I ask went in linear way, starting with the basic question of “where are, and where do you consider yourself from. I then moved deeper to what I was trying to attain. “In what ways to do you connect to this place,

Why do you consider it home? What are some of the Characteristic of that place? What are the stereotypes of the place you are form? Are these stereotypes good are bad or neither? Do you think any of the stereotypes are true?

In your travels, or when you are away from that place what are the differences in what people think and know about that place? Out of these, what are the most common stereotypes? Have you ever been judge based on these stereotypes?” Do these Stereotypes bother you?”

III. A summer playground for the rich is the most common stereotype associated with the Hamptons. Other stereotypes stem of this one, like the fact that walking down Main Street in East Hampton you see a lot of celebrities, and that there is a very flashy club and party scene. Most of these things are true but are blown out of portion and do not reflects the majority of the local population. A source I choose reveals that a beachfront property in East Hampton sold for $90 million. “It’s the most private oceanfront property of that size in the Hamptons.” (Re: Jerry Seinfield) This evidence is an example of how much money is invested in the Hamptons and that statements would make it appealing for the celebrities and wealthy to buy homes and spend time in the Hamptons. The stereotype of the Hamptons being rich can come from this example because houses and properties on the beachfront sell in the range of $20 to $100 million, its important to note that that is the Beach front on the ocean and that those prices do not reflect all of the areas in the Hamptons. In the Springs, the Area north of East Hampton Village, homes are in the range of $400 to $900 thousand, though on a national scale this is still high, it is were the majority of locals and working class people live. Another source example that proves that the stereotypes have some base is found in the East Hampton wikipedia article. “East Hampton from its earliest days with the settlement of Gardiner’s Island has had a reputation as being a home for the wealthy.” (“East Hampton”) The history of East Hampton post 1880 shows the fast development of a second gold coast. East Hampton was formerly a small farming town but quickly, with the extension of the railroad, mansions were being built. Another example in this article, maybe less confirmable then the history, is the celebrity shenanigans. The ones mentioned, “Jerry Seinfeld ran afoul of zoning ordinances when he tried to build a ball field on his Further Lane property,” (“East Hampton”) are either true or something like them is. There is not doubt on the fact that East Hampton is a wealthy place and a summer resort for New York’s and celebrities but that Is only one part of the year and those stereotypes neglect the fact that there is a much larger working class population. The responses to the question “How do you describe the Hamptons based on what you know,” were very similar in the way that stereotypes were the only thing evident. It was expect but good to see from a primary source that those stereotypes are present. “When I think of the Hamptons I think of big beach houses spread out, crowed beaches, and the summer. It’s where rich families from tri-state area keep summer homes to live when they get a chance during the summer… most people have pools. I think lots of celebrities vacation there…bad traffic getting there and back” (Reisen) The interviewee from the West Coast said, “I describe the Hamptons as a whole as an affluent community that is stereotypically exultant with spending.” (Carey) The main difference is that fact that the first interviewee lives closer and know the characteristic with more detail where as outside the tri-state area people only know about the wealth associated with the Hamptons. The Artistic community in The Hamptons, provides evidence that there is a lot more then a the resort area phenomenon and that its rich in its history that predates the development of “ America’s summer playground.” The same East Hampton wikipedia article talks about the Artist Community. “East Hampton’s reputation as an artist colony hinges on painter Jackson Pollock in the 1940’s and 1950’s… swirling around Pollock were other artists including Willem de Kooing … Among other artist who are intimately associated with East Hampton are Thomas Moran, the Hudson river School… had his home in East Hampton.” (“East Hampton) It’s true that Artist like Warhol had houses in the Hamptons as any of the other celebrities did but he did create work there and was inspired by the Landscape and other natural elements preserved in the area. Though it may not be an argument against the wealth in the Hamptons the evidence of the artist community stresses the fact that the Hamptons Is not just a wealthy resort area but has a strong cultural and intellectual history too. “There’s been a war of words throughout the past decade over the American Avalon known as “The Hamptons.” Side no. 1—resident historian, critics and intellectuals mostly—argues in books such as “Hampton Bohemia” that this southern fork of Long Island has, for nearly 200 years been the refuge and inspiration to great artists and writers of American history. Side no. 2 –entertainments journalists… see the Hamptons as a summertime playground for the famous and decadents.” (Smokler)

The interviews informed my personal question of how I am judged for being from the Hamptons based on the general response to the open question I asked. I think the most helpful interviews where the one I personally conducted with my classmate here, and the emailed interview from my friend who grew up in the Hampton and recently moved to Boston. In my interviews I was trying to get stories that would resemble experience where I had been judged for being from the Hamptons. One of the stories I got from my interview with Berkeley resident Emma Tarver, who on her return from a global conference in Venezuela experienced judgment. She and a group of her classmates flying through Dallas airport were harassed because they were wearing Hugo Chavez t-shirts. She mentions that the security officials were saying things like “your communists from Berkeley.” (Tarver) This is a direct example of being judged for the place your from. Another way that an interview informed my own question was the confirmation of the stereotypes from the Hamptons. “The stereotypes that come from living in the ‘Hamptons’ are that you are obviously really wealthy and know someone famous. People assume that because you live in the resort place you are one of the wealthy people that live there mainly for 3 months.” (Maxwell). These examples are not the only ones but seem to be the most important in supporting my idea and question. Being judged for the place you are from is something that will occur in all life situations; the best way is to look at it personally and generally to understand where the stereotypes come from. The major evidence found in this project show that these stereotypes are present and that we are judged for them. I have understood where the stereotypes of the Hamptons come from but I have also proven that It dose not encompasses everything about the people from the Hamptons or me personally, through evidence of an artistic community and through the similarities with other people’s situations. The story of going through Airport security and being harassed because of the liberal stereotypes of the place the interviewee is from, is a perfect example of the reality of being judged for the place you are from. The question in the process of research has developed many different facets including understanding stereotypes and how they effect someone on a personal and public level. This question can be taken to understand cultural conflict, as it is the major reason for those situations. As Humans we first identify with our families and the people around us but then with identify with the place we are from.

Works Cited Smokler, Kevin. “The Hamptons’ Famous artists” San Fransico Chronicle. 11 Dec 2005. Viewed 7 Mar. 2007 < RVGHTG18UL1.DTL&hw=smokler&sn=014&sc=861> Stamler, Bernard. “Whose Hamptons Are They Anyway?” Travel. The New York Times. 1 Aug. 1999. Viewed 3 Mar. 2007 < 1231F932A3575BC0A96F958260&sec=travel&spon=&pagewanted=all> “The Hamptons.” Wikipedia. Viewed 2 Mar. 2007 <> “Re: Jerry Seinfeld properties.” Google Earth Community. 7 April 2005. Viewed 4 Mar. 2007 <> “East Hampton.” Wikipedia. Viewed 6 Mar. 2007. <> Tarver, Emma. personal interview. 4 Mar. 2007. Morehead, Camille. Personal interview. 4 Mar. 2007. Pasca, Jesse. e-mailed interview. 5 Mar. 2007. Maxwell, Allie. e-mailed interview. 6 Mar. 2007. De Cock, Dominique. e-mailed interview. 6 Mar. 2007. Gernet, Annalie. Personal interview. 7 Mar. 2007 Reisen, Charlotte. Personal interview. 7 Mar. 2007 Carey, Nicola. Personal interview. 7 Mar. 2007

Project X / Emergence / April 2007

Annotated Bibliography Word: Emergence March 27. 2007 Lowe, Adam, and Julian Rothenstein, ed. The Redstone Diary 1997. San Francisco: Chronicle Books, 1996. In their illustrated planner The Red Stone Dairy 1997, Maps to get lost in, the editor’s offer and alternative to how an art book can take form. Like many other “high end” planners there are art pieces accompanying calendars, but in this one there is a relevant theme. “It encourages you to explore the world of the imagination, discover new lands, and even risk becoming lost, all while keeping your appointments in order.” This theme is manifested through the way that the editors have cleverly arranged the many different demonstrations of what a map is. Beyond that, they discuss the question; how do we map ourselves? It goes through a wide verity of styles from early aboriginal paintings to the modern Detail of Australian map of the world, which addresses the idea of how geography is perspective driven. The Introduction outlines that artist and dreamers all try to find true place from where they have come from, where they are, and where they are going. The editors also states “life is a journey that we can not undertake without maps. Our inner worlds are topographical too.” Many artists use this idea of mapping, in creating portraits and the emotions associated with being a present human being. This idea of mapping relates to the way I am going to be building the “internal” layer of each of these portraits in my project. The way this framing utilizes geographic references to express the emotions and personal aspects of life, allows for an open understanding of what a personal map might look like. It looks at the elements of charting and organizing thought. Even though, I am going to stay away from using the term mapping to indicate the internal layer of these portraits, it provided a place to start from. I like the idea of ‘Geographic puns.’ using the common names of natural landscapes and matching them up with emotional or witty symbols. I am not necessarily going to do this since it remains in the realm of mapping. The idea of charting will be more useful to what I am actually doing. Schider, Fritz. An Atlas of Anatomy for Artists. New York: Dover, 1957 This reference book, An Atlas of Anatomy for Artists provides information on how to draw the human form. It begins with technical drawings and then shows examples of how classical artists have been able to represent the human form correctly. It provides good reference to the shape of the Human body in movements and motionless. This source implements both science and drawing skills, as an important reference to build a drawing of off. The Drawings of the torso or the truck are given in the perfective of the side as the figure bends but also as a frontal view. This technical reference helps my process in two ways. Primarily, with the accuracy and different points of perspective I am able to understand how the torso functions. With that I will be able to makes decisions on where to place images on the “internal” layer. The second way that this source is helpful is that some of the drawings provide a look inside, to see what is physically there. From this I can play with the possibility of staying near the visual elements of the different internal structures.

Uselsmann, Jerry N. “Jerry Uselsmann.” 2005. Viewed 25 Mar. 2007. <> Jerry Uselsmann is a well-known composite photographer. His website shows the viewer a wide range of his work. He was doing what you can do with Photoshop well before that program exists. His technique requires extensive darkroom work but is simply described as laying negatives over one another. In doing this carefully and with a lot of experience he has been able to create a personal surrealistic style of singular objects against vivid landscapes. Sometimes his work has taken the form of a narrative combing mundane object to express a strong message. He is the master of his craft and in some form is the inspiration for what can be accomplished with Photoshop. His work and his technical style are an inspiration and a reference for my project. Originally, I was going to use multiple exposures to build a single image, similar to Uselsmann’s style. With recognition of time constraints and my amateur ability in this medium, I decided against it. My idea for the internal elements has changed significantly as well, so that process is not necessary anymore. This source is helpful to my project because I am using black and white photography and then altering it trough techniques like feathering. His work accomplishes this in the way that he feathers images on top of each other. I want to try to emulate the quality and accuracy of his work. Hobbs, Robert. Mark Lombardi Global Networks. New York: Independent Curators International, 2003. This catalog, Mark Lombardi Global Networks, shows a series of chart drawings created by Mark Lombardi up to the day he died. This catalog is also accompanied by a retrospective, on his early work. It is evident that most of his work uses this idea of charting and satirizes the concept of static’s. His work is also very political in what it conveys. Lombardi’s work resembles documentation due to the ‘accuracy’ of the data he uses. His series Global networks are all “flow charts” of the progression of companies, political figures life, and world events. His angle is clearly meant to expose the negativity of these situations. For example, George Bush and Palmer national Bank of Washington D.C, revels the corporate networking of this presidents carrier. Another example of how he uses flow charts, is Global International Airways and Indian Springs State Bank, Kansas City, where he exams the process that this type of industry has to go through to get off the ground and function. The image of these interconnecting route become interesting drawings in terms of composition design and simplicity. This “flow chart” concept is the way that I am framing and structuring my “internal layer.” Even though Lombardi uses this way of charting for data and completely impersonal stories, I am going to take it to a personal level. I want to create a flow chart or “global network” incorporating the words I have brainstormed and the memory associations. As the Artist had done, I will use symbols to express the importance of a connection route, the subject circles, or what is along a route. I am going to branch of this idea, trying not to copy this artist’s style completely but makes it synonymous with the idea of a “flow chart”.

San Francisco / April 2007

Phillip Ross / Nostalgia / April 2007

Nostalgia Steamed Out, Linear Function Nurtured, Flourished Prematurely Disconnect No Direction, No Knowledge Found Guidance, Normality Informed Past, Come Together New Environment, New Lineage Forgotten Again, Classified Archives Maintains Lineage, Loneliness Longing Reconnection, Finds Family

Intital Final Project Proposal: Maintaining Immigrant’s Mother Culture/ April 3, 2007 After extensive personal reflection these past few weeks I have developed an interest in my tactile memories, the physical connections and objects. One of these memories looks at the way that my mother maintained her home culture while starting a new life in this country. My uncle living in Belgium would record the radio on cassettes and then send them to her. As a result my mother was able to stay in touch with not only the music but also the language. The memory was physical and involved the use of an object. This phenomenon became important in my life as I tried to understand my cultural duality. The topic that I am working with, as an outcome of this refection, looks at how immigrants retain their culture as they move to this country. There are many components and sub categories to develop this idea including religion, language, memorabilia, neighborhood societies, and music. I want to be able to bridge some of the personal aspects of this question with the historical information in my research. My essential question is: “How do Immigrants maintain a connection to their culture?” Some of my preliminary sub questions include: “How is Immigrant culture defined? What constitutes immigration? What connections do immigrants seek? Some of my second step sub questions include; “What do immigrants leave and bring, Lose and pick up? What is immigrant culture and does it differ from home culture? How do immigrants maintain identity in situations like Diaspora? How can music be effective in connecting to mother culture? My primary objective is to show how immigrants connect to their original cultures and how that can be vastly different from the life they lead in this Culture. For the research phases of this project I am going to uses historical references in the form of immigrant memoirs to use in writing an analytical paper on this topic. The art will address my cultural duality where as the research will be less personal and more analytical. Making the art personal, I am going to work with the concept of having two cultures and the need to understand how they work together and against each other. My two cultures are the Belgian and the American. What I determine as the Belgian is the history, the tradition, and partially the current culture. I am going to express these elements through three generations; my grandmother’s, my mother’s, and mine. My American culture segment will focus on how immigrants maintaining their mother culture but also how they integrate into the American society. I am breaking down this culture into my home life and my social life, making the statement that at home I am more connected to the Belgian immigrant culture than in my fully Americanized social life. I am going to create a visual and sound installation that will be sectioned into the three parts. The first will be the Belgian culture, the second the integration of both culture, and the third the American culture. This space will be in the form of a segmented room, built so that the walls in the middle will be transparent. (see sketches) Visually there will be one reoccurring image in 2d and 3d for each culture. The sound aspect of it will be created as a compilation of published music for each of the segments. The first segment will have three listening devices each playing the music from the three generations in Belgian culture. The middle segment will play a compilation of current music in both cultures. The third will be American, the music compilation will be limited to what was published in15 years, since I’ve lived here. I believe that music is extremely powerful and it is a strong expression of culture. It is tangible n the way that it is either instantly gratifying or not. The contrast and similarity between the language, the lyrics, and the style, will paint a picture of how immigrants maintain culture effectively. I would like the installation to be located in the space between the studios, making it an outdoors piece. The process of making this will brake down into two portions. The first will be the sound work as well as the creation of the visual element for each of the segments. The second will be the construction of the installation. I don’t think that these two steps need to be timed out separately but I think the first step will need to be in a close to finished state while the begging of the second step starts. The material I will need include sound editing software, foam or wood, plexi glass, and audio listening devises.

Currently I have collected 5 sources that are mostly examples of immigrant personal narrative. They include:

-Kite Runner (Book) by: Khaled Hosseini

-Music of immigrant communities in the United State (wikipedia)

- Far from Zion (photo essay) by: Janson Francisco

-Let Me, Tell You Where Iâ&#x20AC;&#x2122;ve Been (collection of Poetry) by: Persis M. Karim

-Guns, Germs, and Steel (book) by: Jared Diamond

The goal of the art piece will match that of the research project in trying to get personal while still using cultural references. I want it to be more of a discovery for the viewer in finding the personal aspect. The research will aid how I put myself in the context of the question and then format it for both the paper and the art process.

Final Project Proposal: My, Ma, Mijn: Culture(s), Kultuuren May 11, 2007 My essential question for Final Project was “How do immigrants maintain a connection to their culture?” This question stemmed from a childhood memory of my mother playing cassette tapes that my uncle had made for her of Belgian radio. Being an immigrant who moved to the United States in her late thirties, she listened to theses tapes to maintain a connection while adapting to a new culture. From this memory, I decided to create a project that would reflect how I define my cultural identity as an immigrant. Working to create a mixed media sound and video installation, I found and chose some of those cassette tapes. I only expected to find cassette tapes that were radio recordings but was surprised to also find recordings of my family while we still lived in Belgium. The sound part of my project uses both of these types of recordings, as well as clips for American radio and songs from my music library. The project is broken down into three videos pieces each focusing on an aspect that has helped me define my culture. The first, spoken in English, gives an introduction and discusses cultural pluralism. The second, spoken in French, is reflection on nostalgia. And the last, spoken in Flemish, looks at the daily aspects of my culture. French and Flemish are two languages spoken in Belgium and in my family. Over the course of this process, I’ve realized that my family has a deep effect in the search for cultural identity. For example, it became clear that mother directly influenced my nostalgia for Belgian culture. Final Project Script The daily aspects of my life have been a way to see the differences between two cultures, sometimes in the form of clashing, but also in the build up of similarities. For me, in forging my identity, it has been important to recognize both. Over time I have been able to see the differences in what my home life was like, and how it was different from my social interactions and what happened at school. At home, I was able to also see a bridge and a pluralism develop over time. My family slowly recognized American culture and joined in certain ways. In joining American culture, we have still maintained practices that reflect Belgian culture. We always speak French, watch French TV, and frequently eat the way we would have in Belgium. The similarities are evident in the way we dress and in the way our social conforms are western and apply to both cultures. Pluralism has manifested itself in these daily aspects.

Prints / April 2007

Final Outdoor Observation And Class reflection April 6, 2007 As I sit out on the bench marking the bend of the Napa River, I am able to realize the changes that have occur emotional, physically, productively, and in the seasons since I first arrived. At Oxbow the spring has developed and unlike home it has subtlety blossoming. Even though it didnâ&#x20AC;&#x2122;t move from a cold snowy below 30 weather patterns to a mild and agreeable spring, there was evidence of change in temperature and with less rain. I am not sure if I can make the agreement that I miss more defined seasons, as I heard news from home after I came here, stories of a hard winter and a cold early spring. I am going home now and maybe it will hit me among others things that come with being away for 10 weeks. The seasons including the less distinctive ones in California are the most natural things in our world. Even though it is so important and a human dependency, it is fragile and extremely susceptible to climate change. Along with global flooding, season change will have a shockingly negative effect on everything from human moral to agricultural production. On a more personal level, seasons allow for change and rejuvenation, this will be lost with the warming of the planet. I believe that the tropical zone will expand and destroy any regional climate pockets like that of the Californian year road dry phenomenon. Our environment and the way that we are accustomed to it, makes us physiological vulnerable to itâ&#x20AC;&#x2122;s change. There is something nice in being able to enjoy a change every 2 and half months or at whatever rate seasons change. The best time of the year is spring. The warm but not humid weather makes its perfect. Thereâ&#x20AC;&#x2122;s no struggle in deal with heat or the cold. I am afraid and sadden by the fact that these moments will not last in my lifetime, so I try to sit here as long as my busy mind will let me to enjoy the fresh air and the quite reflection. Sitting in nature or just outside has been my retreat and only really relaxation since I was young.

From the solid grey grounds, Holding fast to your position, Ambiguous to your reality, Can you tell me, Your story of existence, can you tell. Hopping with your fellow constants, Your place is on the ground, You cannot move or try the actions, That tries to personify you, Your reason can you tell. I want you to roll and, To break with tiny splinters, Running down your seams, Donâ&#x20AC;&#x2122;t take my contract, From the wind and the lamps above, Your purpose can you tell. Your natural element is so, Sad You cannot do what I do. And you sit workless, problem less. Your goal can you tell.

Oxbow Revisted  
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