To: Grand Arts

From: Jesse Small

Re: Conceptual development

Vol.1

Issue.1

"Lawless Prototypes"

Disparate physical locations remain through physical means, yet the fixedness is blurred while travelling, making and remembering. Because of memory associations, the places we've been weave speed-of-light associations with one another. The resulting personal fabric of locale is a haunting generator of simultaneous outcomes, each equally real.

Unbounded by Euclidian space, unique memory and experience associations result in the same sort of lawless prototypes that have moved organic life forward through evolution. Namely, mutations, creating a myriad of potential futures.

Recently I went into Starbucks and saw a porcelain mug for sale. I have also seen the Chinese factory where it was made, in Jingdezhen during my residency there. The workers in the mug factory, the smells of the kilns and street vendors, right there in Starbucks. If my internal experience were really taking place, it would be the result of a heretofore unrealized cultural and geographic singularity, and for example, that might make a perfect mutated environment.

Ornament, which freezes organic subjects into the permanence of the material, and Folly, which evokes the end of an era safely using props and installation, are both bound to Euclidian thinking by the rationale that they are essentially decorative. Yet because of the effort to feign it's origins, especially in the case of so called Neo styles, ornament and Folly remain to be solid references for my work, and herin lies that which I would like to caryy along from the unmutated world.

However, sculpture includes references only as a layer in a concept driven format, that is, not beholden to pre-determined aesthetic results, understanding that aesthetics are the result of something happening. A non-sequitor actor creates imbedded interference, triggering mutation in the concept driven studio practice, to maximize the possibility for Super-Position in the finished work.

Arising out of a poly-geographic studio practice, layered memories become objects and artifacts of experience. Because of the dialogue happening over great distance within a single piece of work, there can be two or more times of day in one moment, to beg the question "when are we?"