Forks Washington Projection
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Forks Washington
Projection
Click Here to see!
Forks Washington Projection
Click Here to see!
Artist Biography
Artist Biography
Adrian Ocone is a multimedia artist originally from Ojai California. They work between digital mediums, painting, drawing, sound performance, and sculpture. They are interested in collaborative relations, relations with tools, and structures of thinking in art making. They are currently completing a bachelor's degree in painting at the Rhode Island School of Design.
Interview
ET:
Can you walk us through your process in creating this work? Thought process, hardwear, ideas, so on..
This work began as an experiment of seeing how much artificial information I could put into Google street-view photospheres before their autofiltering would block it. Admittedly I wasn’t able to get very far with the 3d models I was trying to use so I moved to using the 3JS library as an alternative viewing platform for these images. It also gives me the advantage of being able to combine the photosphere environment with an interface of my choosing, in this case superimposing my own hands. This is in continuation of a series of paintings/photo collages I’ve done in reference to first person video games like Elder Scrolls or Quake. I’ve come to associate that high field of view “look” with mediation from one's environment or dissociation of some kind. I think it is just kind of funny too, especially here using the imagery of Twilight and a freeway overpass above the 95 freeway in Providence, both of which feel monolithic and detached yet also familiar and kind of goofy to me. I don’t think there's any more of a thesis here than in any of my other work, but maybe there is some comparison to be made between pop-culture and large, public works projects. I’m mostly concerned with the aspect of experimentation.
ET:
Can you walk us through your process in creating this work? Thought process, hardwear, ideas, so on..
This work began as an experiment of seeing how much artificial information I could put into Google street-view photospheres before their autofiltering would block it. Admittedly I wasn’t able to get very far with the 3d models I was trying to use so I moved to using the 3JS library as an alternative viewing platform for these images. It also gives me the advantage of being able to combine the photosphere environment with an interface of my choosing, in this case superimposing my own hands. This is in continuation of a series of paintings/photo collages I’ve done in reference to first person video games like Elder Scrolls or Quake. I’ve come to associate that high field of view “look” with mediation from one's environment or dissociation of some kind. I think it is just kind of funny too, especially here using the imagery of Twilight and a freeway overpass above the 95 freeway in Providence, both of which feel monolithic and detached yet also familiar and kind of goofy to me. I don’t think there's any more of a thesis here than in any of my other work, but maybe there is some comparison to be made between pop-culture and large, public works projects. I’m mostly concerned with the aspect of experimentation.
ET:
One of the obvious themes in your work is the influence of twilight, so are you team Edward or Jacob? Also is it important for you to have twilight as such a large part of your work?
I guess I have to be team Edward… I’ve only seen the Twilight movies in the past two years, maybe it would be different if I had read the books or seen the movies when they originally came out. I like Jacob, but the way the character is treated in the last movie freaks me out too much, maybe it also has to do with Robert Pattinson being more in the public eye right now. I also just think vampires are awesome. As far as Twilight’s influence on me, I just really appreciate it and I think it’s cool to make something more along the lines of fan art. It seems a lot more straightforward and genuine since it’s a pretty direct reaction to another piece of media. Like people having cover bands or something. There's a lot to pull from when it comes to Twilight, a lot of things that have aged strangely or make it an artifact. I’m definitely going to continue pulling from it.
ET:
One of the obvious themes in your work is the influence of twilight, so are you team Edward or Jacob? Also is it important for you to have twilight as such a large part of your work?
I guess I have to be team Edward… I’ve only seen the Twilight movies in the past two years, maybe it would be different if I had read the books or seen the movies when they originally came out. I like Jacob, but the way the character is treated in the last movie freaks me out too much, maybe it also has to do with Robert Pattinson being more in the public eye right now. I also just think vampires are awesome. As far as Twilight’s influence on me, I just really appreciate it and I think it’s cool to make something more along the lines of fan art. It seems a lot more straightforward and genuine since it’s a pretty direct reaction to another piece of media. Like people having cover bands or something. There's a lot to pull from when it comes to Twilight, a lot of things that have aged strangely or make it an artifact. I’m definitely going to continue pulling from it.
ET;
What is the relationship with your work and to the theme of pilgrimage.
I definitely see everything I make as relational. Making some kind of temporary space for collaboration or communication. In that way I relate it to pilgrimage, there is always effort involved in trying to enter that space, whether it is seamless or incredibly difficult. Think about trying to play music with others and how tenuous that can be, everyone has to find some way to enter that space and move through it together. For me there is not a grounding aspect of art by default, I definitely have to figure it out over again each time. I don’t have much of a particular grounding in space either, I can’t say I’m particularly connected to any of the places I’ve lived in a similar way.
ET;
What is the relationship with your work and to the theme of pilgrimage.
I definitely see everything I make as relational. Making some kind of temporary space for collaboration or communication. In that way I relate it to pilgrimage, there is always effort involved in trying to enter that space, whether it is seamless or incredibly difficult. Think about trying to play music with others and how tenuous that can be, everyone has to find some way to enter that space and move through it together. For me there is not a grounding aspect of art by default, I definitely have to figure it out over again each time. I don’t have much of a particular grounding in space either, I can’t say I’m particularly connected to any of the places I’ve lived in a similar way.
ET:
Do you have a routine? If so what does it entitle, if you swagger from it how does it affect your day?
I’d love to have more of a routine. I hate waking up past 10:30am, but my sleep schedule is inconsistent. I definitely think of myself as being fragile or at least easily imbalanced. I need to figure out a way to live…
ET:
Do you have a routine? If so what does it entitle, if you swagger from it how does it affect your day?
I’d love to have more of a routine. I hate waking up past 10:30am, but my sleep schedule is inconsistent. I definitely think of myself as being fragile or at least easily imbalanced. I need to figure out a way to live…
ET:
What do you believe makes a good artist? Or “good” art?
I think I'm most drawn to people who work intuitively/in an improvisational way. I think things like social engagement may be the most important, but an openness to the work definitely benefits the social aspect. People like Dieter Rot, Cecil Taylor, and David Toop are definitely role models for both their openness and the social aspect of the work. Also, I feel ever-attached to the idea of being prolific. I think that’s somewhat attached to being able to work intuitively. Sometimes that comes in the way of course, getting caught up in the details of something or working in ways that don't lend themselves to quantity. It’s all just an effort to enjoy oneself anyways.
ET:
What do you believe makes a good artist? Or “good” art?
I think I'm most drawn to people who work intuitively/in an improvisational way. I think things like social engagement may be the most important, but an openness to the work definitely benefits the social aspect. People like Dieter Rot, Cecil Taylor, and David Toop are definitely role models for both their openness and the social aspect of the work. Also, I feel ever-attached to the idea of being prolific. I think that’s somewhat attached to being able to work intuitively. Sometimes that comes in the way of course, getting caught up in the details of something or working in ways that don't lend themselves to quantity. It’s all just an effort to enjoy oneself anyways.
ET:
Do you have any major inspirations? Can be within the art realm, could be books, movies, music, the world is your oyster!
The aforementioned people are definitely among my absolute favorites. I’m inspired by my friend Yuqing, my parent’s cat. I really like slow tv, Wikimedia, I like working with synthesizers and hardware a lot, it’s hard for me to motivate myself to watch movies, it’s even harder for me to watch tv. I love Mark Fell, Soil Thornton, Kali Malone, Bjork. Also, environmental sound, landscapes. I feel like I’m very easily excited, but also very easily distracted! I’m definitely forgetting something essential.
ET:
Do you have any major inspirations? Can be within the art realm, could be books, movies, music, the world is your oyster!
The aforementioned people are definitely among my absolute favorites. I’m inspired by my friend Yuqing, my parent’s cat. I really like slow tv, Wikimedia, I like working with synthesizers and hardware a lot, it’s hard for me to motivate myself to watch movies, it’s even harder for me to watch tv. I love Mark Fell, Soil Thornton, Kali Malone, Bjork. Also, environmental sound, landscapes. I feel like I’m very easily excited, but also very easily distracted! I’m definitely forgetting something essential.
