Artery Media Project

Formal

  • a successful application of the Artery 'formula' should demonstrate (as with any good composition) harmony between the 'whole' and the 'parts'
  • essential to the invitation for nature to help define the space is the role of patina, surfaces should be allowed to weather, a premium should be placed on diverse forms of 'rustication'
  • the aesthetic of the space should consider art from refuse as an underlining recurring theme, this convention integrates the space into the surrounding matter of the city
  • dead trees are a treasure for an urban forest, providing nutrients for the soil and habitat for other life, resist the urge to over-manage the trees, life is never neat and a forest requires decay
  • the vocabulary of the space should recall timeless and universal forms; distinct elements are a premium; stone, wood, metal, water, light
  • a space derives its energy from motion and well as thoughtful design, motion introduces a chaotic element, as such, kinetic motion from light and water is essential
  • on placement: discover harmonious distance between points of interest, maintain aesthetic consideration for foreground, background, middle ground, underfoot, in shadows
  • always balance the hidden with that which is apparent, allow areas for the eye to rest or search for form, space objects that involve literal interpretation carefully, use generic or natural forms to buffer points of interest
  • in regard to patterns, try to establish rhythm counter to orientation of lot, patterns running in diagonal lines to property boundaries are a premium
  • interior and exterior should match in style, use and orderliness
  • color, the most subjective of the elements of design, should be used with caution not to interfere with the balance between parts and whole, color shouldn't draw too much attention to itself
  • color should be used consistently; whether used as illumination or on surfaces, color can be used to establish common tones that can be seen as 'trademark' to the space, with other color usage remaining subordinate
  • space should relate to the human, like any good forest it should 'envelope' the visitor
  • space should reveal broader dimensions gradually, trees can serve to obscure or frame any given sculpture or vista, mass or void
  • just as the content of the presentations might share a common impulse, such as ecological or humanitarian, the artwork exhibited should fall within a range of expression that is consistent in subject, quality and ideals
  • caution should be taken when presenting decorative art in that there is a risk of superficiality... mystery and the sublime are essential, and are compromised by art that is meant to be simply pleasing to the eye
  • in daylight, night, dusk and dawn the design of the site should reflect consideration for placement of points of interest under the varied light, the density of visual information should spread evenly as natural light gives way to illumination
  • exterior lighting should be subtle in a way that conjures a sense of mystery, it is better to under-light than over-light, never so bright as to offend, even decorative low-watt holiday string lights are too bright under most circumstances (and too familiar)
  • illumination should originate throughout the space, underground, at surface level, in the tree canopy (especially effective for the viewer's peripheral vision); experiences of peripheral vision are equally essential to what is visible by direct light, the specific must never dominate the general
  • generous use of kinetic lighting effects will lend to the space a sense of mystery and fantasy; light reflecting off mirrors, light that causes a sense of movement when affected by the wind, these effects should be used to fill in the viewer's peripheral vision in relation to how they see the main performance area(s)
  • wind generated kinetic light movement creates a magic combination of motion and shape, reflecting sunlight during cloudless conditions, creating hypnotic and entrancing moving beams and shadows at night
  • kinetic reflective water lighting is an essential component - elemental and sublime in effect, capable of generating vibration and rhythm in many zones (reflected on walls and tree canopy, contained within enclosed areas or behind transparent surfaces)

formal

observations based on my personal experience at the Artery site in Houston, Texas -ML

p>As a painter I have experienced the Artery as a four dimensional canvas with time a constant factor, time allows for the most unexpected intervention of form and enables the experience of space to take on the a personal texture, via history and memory.

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News

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Artery Events

December 2013

The Artery has concluded its production season as well as its 26 year history as a performance space. Over the next few months new videos will be posted from this past season as well as past years.

A potential new site for recording events is under consideration.

History

The Artery....  Click here to read more

Principles

It is my hope that these notes will help perpetuate the invention that is the Artery - ML

Read more ..

Contact

Artists and potential presenters are encouraged to contact Mark Larsen regarding possible collaborations. There may be another venue for operations as soon as summer 2014.

E-mail

Credits

Mark Larsen
Bill Day
Ted Barwell
Mike Roberts
Mike Larsen
Christopher Johnson
Christine Clark
Malcolm Hackney
Pranav Kothari 

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