A discussion with Daniel T. Gaitor-Lomack in preparation for The Blues.
By: Mike Nesbit
“Ob (or object) Art has two aspects. One is a contemporary version of the Ready-made and found-object traditions … The other is the physical counterpart in real space to Hard Edge and the crisper kinds of Colorfield painting … The freedom of this sort of Ob lies in its ambiguous connections to culture and life. But just as it needs art history to define its point of departure and scope, it needs a group of artists all practicing a quasi-repetitive activity to underline its intention; that is, its intention of non-intention. It plays this idea like a popular recording, its insistence increasing with its recurrence. And although this may be a devotional act, it is not an experimental one.”
-Allan Kaprow, “The Blurring of Art and Life”
Conversation and Landscape
DL: Man … that’s where the peace is, right across that bridge, into the blue sky.
MN: Waiting for you brother … October 20th … we moved The Blues there and to the adjacent field.
DL: Damn it’s gonna be insane … This is over at Pete’s?
MN: Yeah, and the land across the road. More opportunity to place the work within different environments, it becomes quite cinematic. Also, gives the individual more room to wander with wonder.
DL: That’s a great point. You do pretty much whatever you want considering the new locations.
MN: Exactly, and I think it’s a closer link to the Flood space. The buildings become deconstructed into the landscape, which could lead to the next project completely absent of built infrastructure.
DL: I see. That’s a deep link … Will they be demoed during the same time? Or how will they be deconstructed? I think that has a value, that process of how pieces and fragments and how they are still building in certain positions along the flat land (foundation).
MN: When I say deconstructed I mean the seed drying facility is less of an architectural building and more of a machine as its function is quite specific. Growing closer to the machines that till the landscape … growing closer to the land and nature itself. The further we get away from building/ man and technology the closer we get to nature. I guess this series of work can start to visually represent that. In a sense those buildings have been slowly deconstructing/ finishing into the landscape for the past 50 yrs. Would be great to see you demo something there.
DL: That sounds amazing. The power of nature reclaiming and bringing us closer. Out there it is a virtue, surrounded by all that land. Things get to just live a life amongst the clouds. I can imagine how pure it is to operate where there is no error because of the “nothing” … meaning like it’s not a tangible disruption or pressure to navigate process and crunch time. To me it feels like a portal of some sort of infinite language, a soft landing of a sky fall. I’m totally in to do whatever is in my power to contribute to that legacy, would be an honor! It’s powerful to see it all come together in the different ways and mediums.
MN: “To operate where there is no error”, what a sublime idea … as we are always surrounded by judgement, to be able to detach from that and be in the moment of what’s “at hand” no matter the scale … whether a blade of grass or a thunderous storm.
DL: I absolutely feel that connection, that mental gain of freedom!