There are very little physical parameters to the project A –> B. Broadly it is a series of photographs depicting change, simply approaches to the moment that A seizes to be A, and becomes not-A, lets call it B. These acts can be as obvious as eggs breaking and love making, or as transitional as biking and hiking; the idea is to toss in a few metaphors and really bring these objects to become something far more than their subjects would let you believe. That images are not subject to their objects, so that they need not be objects to their subject. The implications of these images are then to be discussed in a collection of four essays.
Seen in this manner the project seems daunting, however; having conducted research all summer, collecting ideas hatched sketched and stretched to the proportions to be used in building these works, it is now simply a matter of putting the pieces together. As for the photographic aspect, it is all being shot from one camera body, a handful of lenses, and using only a particular roll and speed film, the reasons for this being that these photographs are more or less an encyclopedia of photography, and in this manner they are intended to reproduce the circumstances that first brought photography to mainstream access; that these images may be readily reproduced by those with the appropriate materials.
This body of ideas exists at the far reaches of the photographs’ implications, and are therefore difficult to reach merely through observation, a viewer must be led to some of these ideas, and use the photographs as reference points; so that when in a written observation one suggests a certain occurrence, it can be readily found in A –> B. The essays are merely a second medium to approach these same ideas. The essays are to follow a certain path: i. the language of art, ii. art as a decision making process, iii. the art of making decisions. More importantly an introductory and conclusion essay which will implant the importance of this thought process and the implications it has for aesthetics.
In order to complete such a broad project years of interest were accumulated, and culminated in months of research. Research into the historical evolution of art and its definitions, as well as the key players that helped shape such notions. From Danto to Plato, Wittgenstein to Auden, Laurent to Dutton; much ground has been covered in this ongoing investigation; and finally, the work has begun. Several images have been completed as well as two essay, with notes, outlines and sketches for the entirety of the work it is now a question of giving form to these ideas.
The fourth aspect of this project is a bibliography originally intended to be an independent project titled 2013, it is a collection of all the things I used in two thousand and thirteen, the rolls of film, the shoes, the bicycle tubes, tires and forks; pens books and movies, butts and bottles, the wide breadth of materials used to create this year, this is my bibliography; again, this will be reproduced quite simply so that the subject may transcend the objects.
The final product is a gallery installation, images on the walls, and two pedestals, one for a book of essays, and one for the bibliography. Taking into account many quirks and details to be later divulged; this is very much a performance piece.
fernando isai 