Sabot Cruft (Nine Quilts for MOVE)
This work was created during my artist fellowship at The Hacktory which is part of the Department of Making + Doing in Philadelphia. Upon my arrival I began to think about the places and things in Philadelphia that I was familar such as Independence Hall, the signing of the Declaration of Independence, and the Liberty Bell.
Due to a fortuitus change in accommodations I soon found myself driving daily through West Philadelphia. Like other large cities such as New York and Chicago, Philadelphia was reminding me that one only needs to turn a corner to find that one street separating neighborhoods of affluence and those of poverty. Each day I imagined passing through the thin membranes separating these neighborhoods, trying to sense the pressures pushing from both sides. These nine quilts are created using breaking news images gathered from Philadelphia's 6abc Action News - WPVI website.
Thanks to everyone at The Hacktory and the Department of Making + Doing for the opportunity and support to make this work.
MOVEFrom Wikipedia, the free encyclopedia
MOVE or the MOVE Organization is a Philadelphia-based black liberation group founded by John Africa. MOVE was described by CNN as "a loose-knit, mostly black group whose members all adopted the surname Africa, advocated a 'back-to-nature' lifestyle and preached against technology". The group lived communally and frequently engaged in public demonstrations related to issues they deemed important.
Since their founding in 1972, MOVE has been in frequent conflict with the Philadelphia Police Department. A major incident occurred in 1978, when the police raided their Powelton Village home. This raid resulted in the imprisonment of nine group members, now known as the "MOVE 9." After this, the group relocated farther west to a house at 6221 Osage Avenue.
In 1985 the group made national news when police dropped a bomb on the Osage house from a helicopter in an attempt to end an armed standoff. The explosion and ensuing fire killed 11 people, including five children and the group's leader, John Africa. Only two occupants survived—Ramona, an adult, and Birdie, a child. In addition, approximately 60 other (non MOVE-affiliated) homes were destroyed as the entire block burned. [https://en.wikipedia.org/wiki/MOVE]
Quilts of the Underground RailroadFrom Wikipedia, the free encyclopedia
The slave quilt code is the idea that African American slaves used quilts to communicate information about how to escape to freedom. The idea was introduced and popularized throughout the 1990s. Most quilt scholars and historians consider the "code" to be completely lacking any basis in fact. [https://en.wikipedia.org/wiki/Quilts_of_the_Underground_Railroad]
CRUFT: Art from Digital Leftovers
My work includes traditional art practices in drawing, painting, printmaking, and sculpture. Recent work includes generative art, performance, installation, and network based art. My arts practice explores the Internet not just as a distribution platform but organized under the umbrella concept of Cruft. I take apart, juxtapose, recycle, and interrupt the relentless flow of media to reveal a relationship in which we don't simply consume media, but are also consumed by it. Computer code is automated and runs on a server which at specified times goes out to the Internet and scrapes source material from the web to then produce a form of digital collage. Each auto-generated Cruft is the digital residue created from the information flowing through the Internet at that moment. This work is then automatically uploaded to my web site for distribution to the viewing public. My work on Cruft has encouraged me to think about the nature of the unique art object and it’s dematerialization, from atoms to bits, allowing for potentially infinite copies.
Misdirection as Mass Deception
Like the magician performing sleight-of-hand to deceive and misdirect the eye, those in power tell us where to look and what to think. The mass media provides the stage where the deception unfolds focusing public attention with emotion and fear. Having been in lower Manhattan on September 11th 2001, I experienced first hand the collision of terrorism and warfare into the visual, resulting in our network connected screens compressing the time between living and documenting an event. The media showed images of the planes impact and the buildings collapse in a repetitive loop. Our screens became weapons of terror, the system of representation was hijacked and we were forced to relive those terrifying moments by viewing images presented as a never ending present. In 2003, as the United States invaded Iraq, I began to notice how the media presented images that contributed to fear and consensus, and as the images disappeared from view, I wondered what became of these digital leftovers and I then started creating auto-generated Cruft.