There was a level of self-awareness to this article that I found really relevant to my experience in Istanbul.
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Opportunities to show work have helped clarify what I am proud of in what I make, what I want to improve and build on, and what I need to change.
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Back in the realm of spatial theory, I don’t think it’s worth fighting my tendency to gravitate toward the politics and meaning of space, but I was also back to needing to connect it to creativity and art.
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I found these sets of twin houses in the gentrifying areas of Kadikoy, one, run down, boasting once-beautiful details on its facade and glimpses broken walls through the holes where windows used to be, hinting at history and secrets.
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I managed to find a great collection of the travel diaries of Antiquarian Sir Francis Ronalds, at which point I realised I am likely just a British man from the 1800s reincarnated.
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I hesitated to explore the concept of statelessness in the first place because I was unsure how to address the privilege inherent in my brand of it, and felt that it needed to be addressed.
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Pt. 1: Pick any term vaguely relevant to your work, and google it. See where it goes.
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I focus on the itch until it goes away or gets worse.
Thumbnail: Kate Doyle. Bad Nora. 2012.
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The men you fall for in Florence aren't yours; you pay for the privilege. Pay to see them, let them lead you through the streets to their thrones.
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I am re-posting this piece following the death of John Berger, eternally grateful for everything this man taught me about communicating ideas, about art, and about myself.
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My new moral compass makes me take a serious look at my thought process.
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Back in the Northeast trying to get my feet back under me. I'm excited to get back to modeling and into a New Hampshire summer, as the snow falls outside the window. I am finishing up my art commitments from the trip, peeling matte medium off the tips of my fingers as I turn to writing.
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