Suppressing My Inner Caravaggio

Abstract

FULK ART is a body of work that stems out of the divisions and segments of the constructed narrative germane to the notions of art world and art worlds . In his theses Nathan Childs argues that his contemporary studio practice is not rooted in the post production criticism of his objects. Rather his art is a techne that hybridizes his daily habits as rituals of making. These rituals are self reverent inspections of multi sided issues, set into a dynamic state. The third side of the coin device is a habit of life style that allows Childs to reach deeper conclusions about superficial media regimes. Childs theses examines a studio lifestyle that is not distinct but fully integrated into every component of his being. The studio, materials, rituals, and physical objects all combine into a compressed multilayer strata. Segmented, buttressed, grid-like, performative and immersive architectures emerge from a furnace of disruption. Childs transcends a material existence by maintaining a busy hands idle mind monotony, that allows his mind to wander paths of discovery, problem solving, and wordsmithing. A chronological and linear pursuit of the plus outré, forever, or beyond produces an ever expanding lexicon of material and spiritual industry. Encased inside the monotony is a composting of materials and storing them for further use. Both thoughts and material compositions are delineated, dissected, reformed, delineated, dissected, reformed...a.i. In the Stratigraphic Penticularity Childs has composed an allegory for the tension that lies between the studio as place of ritual and ceremony and object as material for criticism. the question of form over function becomes a point of contention. Interior and exterior infers functionality as an architectural space. The participatory processional aspect of the viewer engaging the object is a question of ceremonial function. To me the Stratigraphic Penticularity is neither an object of function or form it is FULK ART, what is important isn’t what the object represents, what is important is that it was made. The ritualized studio practice is a state of mind, a way of living, and a formation of habits and is now represented by the object. The studio can be a five wall physical structure. The studio can also be elevated to ceremonial relic. The definition of the studio is controversial and disruptive