[A selection of quotes, texts, excerpts that inspire my creative process]
…“Together these works deliberate on the materials of their making and engagement: void technologies (vinyl, typewriters, clockwork film cameras and optical gels) reasserting their value, tuning themselves to the resonances (beyond the bulk and burden of the digital, simulated or saturated) of quiet seductiveness.” Alexander Hetherington
excerpt from a review of the 2010 solo-exhibition: “Leaving Colours Time”, NOMA Gallery, San Francisco,
“My Creative Scene: San Francisco” Central Station, Edinburgh, [thisiscentralstation.com], 2011.
…”The multicolored lines gather in groups punctuated by broad expanses. Pacing, rhythm, intervals are the subject. Clemenco studied with Lou Harrison, but his work is informed by Mondrian and Barnett Newman as well.”
David Bonetti excerpt from a review of the 2002 solo exhibition: “Chalk Lines 2002” at Takada Gallery, San Francisco: “Galleries”; San Francisco Chronicle, March 2, 2002.
Art News, April 1967, p.54
“There is nothing in music, for example, to compare with certain drawings of Mondrian, where we still see the contours and rhythms that have been erased, while another alternative has been drawn on top of them. Music’s tragedy is that it begins with perfection.
— Morton Feldman
…after Mic and Midnight, with Tongo Eisen-Martin, Winter Solstice, 2018 at the LAB SF
So I sat and listened to diverse, insightful and deeply affecting poetic testaments from beings who have come so far, with far less, for so long and through such stuff, that it burned and tore at the longest night of the year— I.C.-
16. Line drawing was invented by the Egyptian Philocles or the Corinthian Cleanthes. But the first Greeks to practice it were Aridices from Corinth and Telephanes from Sicyon. They used no colour but added extra lines within the outline, and these artists used to write the names of their subjects on their pictures. Ecphantus from Corinth is said to have been the first to daub these pictures with colour made from powdered earthenware.
— Pliny the Elder
Yoshihara Jiro, “On the occasion of publication”, Gutai 1 (January 1955)
‘The thing that is most important for us is for contemporary art to act as a free space that provides people living in these severe times with the greatest emancipation. It is our deep-seated belief that creativity in free space will truly contribute to the development of the human race”
trans. Ming Tiampo, Third Text, 21, no. 6 (2007), p.704.
Credo (excerpt)
I am working to transcend the theoretical matrix and technical processes through which a given work is shaped and evolves. This intention balances the concerns of the medium with an emotional response to life aspiring to be both contemplated and felt. The overall approach to my work is that of exploration and discovery, allowing an inevitable, open end.
I.C., 2002
La Monte Young: Notes on Continuous Periodic Composite Sound Waveform Environment Realizations, 1969
Aspen, no.8, item 7
Tuning is a function of time. Since tuning an interval establishes the relationship of two frequencies in time, the degree of precision is proportional to the duration of the analysis, ie. to the duration of tuning. Therefore, it is necessary to sustain the frequencies for longer periods if higher standards of precision are to be achieved.
The Birthmark, “Flames and Generosities”, p. 145
In the precinct of poetry, a word, the space around a word, each letter, every mark, silence or sound volatizes an inner law of form— moves on a rigorous line.
Susan Howe