Statement:
The paradigmatic-shift of the so-called, Second Renaissance, is sentient. The era of the orthodox career-artist is quickly drawing to a close, as closeted, behemoth cultural institutions appear increasingly implausible and incestuous. For many creative people, the art-object has become an ingredient or inceptive aspect of a larger, open, often mediated, concern. No longer the exclusive privileged domain of the traditional alliance of dealer-academic-museum (the curatorial class), art now regularly escapes these constraints. The archaic practice of art-object-making serves personal philosophical and nascent purposes; for myself, it`s an intriguing balance of obsession, critical reflection, precision and impulsiveness. The physicality of some of my art is a gratifying counterpoint to my media-oriented and technological projects -- stirring of electrons. Predictably, the critical, avant-garde dialogue that informed my early creative work has become fractured and depreciated. Insightful intelligence is now less likely to be dependent on hierarchical scholasticism. This dethronement of learning can be understood as the most exciting intellectual frontier we are now crossing. The relevant artist today is multi-dimensional-- an intradisciplinary generalist, with an expansive set of skills.
bbrace@ncal.verio.com