Unedited conversations between artist in a productive critique discovering thesis and processes behind the work.
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Image Woodgate found Online.
today in the morning i saw this
Soto: hmm... maybe it's living in this internet day and age, but i'm not that impressed
Woodgate: are you serious!!!! dud is walking on air!
Soto: ah! you see the poetry in it...
it is beautiful in that sense.
Woodgate: we have a parallel world
i am interested in when these two meet
you know.... sometimes they intersect
intersect looks like insects
Soto: that poetry i appreciate more
Woodgate: it’s this wind that’s coming in that reminded me of that balloon picture
Soto: i see.
so you are referring to a parallel world which we cannot see?
what are these two worlds exactly?
Woodgate: well actually, there are even more worlds... now that i think about it.
but the word world is a little strange, maybe spheres
Woodgate: you were not impressed because you spend time on the internet
what is it about the web that makes things unimpressed you?
Soto: just this never-ending amount of "shocking" "disturbing" or even "new" imagery that desensitizes
or maybe a better way to put it is that it pushes us to evolve at a faster rate... which pushes generations further apart
makes us more different faster
like teens now aren't impressed by much, compared to us
Woodgate: pushes generations further apart...
that refers to people, traditions and the way its transfered
today transmission goes online
remember when Teddy Abrams made the comparison between the music we were hearing and rock and roll.
sorry for caps
i think it was warranted
can u elaborate on that further?
the correlation between what Teddy said and online dissemination of information
Woodgate: it just made me think about the complexities of cultural transmission and the connection between generations
the music these musicians are playing is old.
Soto: but if played in an updated way, it can become contemporary again?
give it some added poetry
Woodgate: maybe the added poetry is not needed...
if it is still relevant then it is contemporary
Garden Music Festival, Fairchild Tropical Botanic Gardens, Miami, Fl
Collaboration between Misael Soto and Agustina Woodgate and Resident Musicians
January 9, 11, 15, 17, and 18, 2015
Soto: then what were we doing there?
not adding or enhancing, but pushing
Woodgate: i really like how playing makes sense in both music and game
Soto: yup, me too
i always go back to that word... even it makes me sound dumb
Woodgate: same here
we were moving very freely
Soto: yes, it felt like a new form
even though its not... not really
Woodgate: i know what you mean, but it did feel like free play
Soto: no pressure
which is how it should always feel, no?
Woodgate: even the Chihuly’s started looking good
we were (on a creative) high
Woodgate: i think it was the garden effect
Soto: all that pollen in the air
Woodgate: there is something about garden architecture and design that is meditative. they makes so much sense
you must have seen some good ones on the other side no?
Soto: other side?
Soto: oh! yes... definitely
with different, though universal sensibilities
Woodgate: Fairchild looks like the amusement park style garden...
remember how they cover the buildings... illusions
Soto: yes! it's all a show
even if it's just plants
Woodgate: the plant show
Soto: uh huh
played for sure... in what we did
Woodgate: I recently wrote a poem
Soto: what kind of poem is that?
Woodgate: no se... a conceptual poem?
Soto: that's it... it just is.
i feel as though i'm just now developing how to channel "it", how to flow with it, listen to it.
how do i explain...
well, this idea we spoke about during our project at Fairchild (which has really stuck with me, and has been an exciting badge of sorts to wear going into the new year)
...about how our studio practice is doing. it's in the world as much as or more so than it exists in a physical studio
it's really hard because the world doesn't work this way. we have to make it and do it for ourselves
you're much better at this than i am
Woodgate: no limits
Woodgate: you can't sketch these things. the outside is the test site
we were running a series of experiments and the only way to try them and learn from them is by doing them, making it happen
Soto: AND not giving a shit about it appearing like a finished project.
Woodgate: miss!!!!! are you kidding!!!!!
what we did there was such a little test. We are ready to take it next level and I can't wait!!!
Soto: omg. me too!
and of course we care what it is in the moment. we have our aesthetic sensibilities after all, but we have a simultaneous need to see it as part of a larger practice
like you said, a sketch that leads to a greater piece, which leads to a greater one, etc.
can you imagine an entire orchestra in full camo suits
Soto: i would die
Woodgate: straight to heaven
Woodgate: we are one step closer to doing so :)
Soto: we always are and that's important to keep in mind
...and oh so easy to forget
how long have you been working this way?
or rather... how long have you been evolving this style of practice?
Woodgate: maybe always... but i am conscious now, before it was intuitive
Soto: a very important distinction
i think i have as well, but to be conscious about it allows us to calculate it and stay focused
Woodgate: my brain is bouncing on thoughts
Soto: spit them out!
Woodgate: i am thinking in scattered ways
when you do something, and then you set yourself to do it again, it is never the same. never
sometimes I find myself more excited about the future than the present
as if these types of sketches enable to imagine the bigger pictures, the potential
Soto: yes! i can definitely relate to this
i find, as long as the excitement continues to translate into some kind of reality in the present... it's ok
gotta keep moving... like a shark
Woodgate: thats why it felt like we were playing, no?
Soto: yes! and that the future from those pieces is going to be really good
Soto: i kind of continued with some of those idea in Mexico at the Material Art Fair last week...
Woodgate: How nice. Me too. We both had in mind the other, the audience, the listener. Contextual artists
Soto: yes yes. we are
Woodgate: what is it that stayed with you the most?
Soto: well, i'm in a really good place in this sense (much of it thanks to a continuation of the spirit of our collaboration). in a place where i can create ways to experiment in the world.
i've been obsessed with a hyper awareness within an arts context... both in a museum and, after Mexico City, an art fair setting... and doing performative works freely which i see as building towards something greater and greater.
not all of them as successful as others... but i would never know otherwise, not truly
so, what has stayed with me the most? Freedom
Woodgate: so nice to read you
Woodgate: also, the collaboration with the musicians is interesting, don't you think
their dialogue is quite different, but at the same time, the creative spirit is there
Soto: oh, for sure! such a fascinating curve ball
i haven't met people that talented and creative that were so different than "us"
Woodgate: and they see us with those same eyes, so there is this exploration atmosphere that sets a stage for great connections
its like a third platform opens up
ultimately fulfilling for everyone involved
Soto: yes! another example of the possibilities that exist in the world... you just have to keep telling yourself they're there and i believe you'll keep finding them
Woodgate: but it’s not only the people, but also the places.
don't you think?
i mean.... people are buildings
yes i agree
i guess i'm just thinking how you ultimately have to convince people to make things happen
Woodgate: i also see it as part of a play in the theater way.
using the musicians as tools, in a way
Soto: yes… we played them and they played instruments
Woodgate: what a joke.
Soto: i'm interested in adding more and more "play"s to that
Woodgate: we found three for now right?
Soto: easy, yup
Woodgate: i guess we need to keep on playing to find them