The Stratagem of Image Making

Image making is like a series of strategic maneuvers and visual logistics that cue the viewer through the pieces and towards a message. It is a process defined by tactics that lead the person who receives the piece comfortably through the intentions. Whatever the intentions are, they must be well placed and register in a confident succession, like a quiet operation.

If the work demands attention, it must be striking and lure the viewer in order to take hold of their time, but then it must maintain their interest and experience through careful detail in craft and intricate features.
If it is loud, even political and bold, it must be abrupt and clear in order to be read swiftly.
Yet the most quiet work that necessitates the most searching and exploration needs the most strategy and patience. It must unfold like a campaign or a gentle offensive the keys the participant to the work so that it can teeter on the precipice of intentionality vs accident.

But there is the inevitable danger of the interpretation misfiring. If there is not enough attention applied to the piece’s construction, application and technique it runs the immense risk of fumbling into a bad reference. It may even be overcome and retreat to something that it never intended to be. Such a defeat is a sad loss. It is the paper filled with delicate and exact pinholes to create a blossom pattern, but upon further notice reads as a swastika, or the portrait that accidently resembles a famous celebrity. (I don’t think that “the gaia piece that is mistaken for swoon” fits into this category so neatly but it is definitely a logistical and strategic concern.) Such misfirings must be expected and in an effort to herd the loose ends, the piece must be drafted to prevent grand and thwarting courses and allow the distractions to lead back into the work.


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