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May. 10th, 2003 12:04 pmYesterday turned out to be quite enjoyable. It began in a practically oriented fashion. My still underdeveloped back yard has had a case of raging weed hormones again, so I tackled it with the mower. I filled up my grass clipping bin and still have a third of the back yard to go. I'll get to that next week. I need to find some neighborhood safe napalm for those weeds, dammit.
With the remaining third of the weeds, I did carve a big letter "A" in the thatch, so that overhead aircraft might have a treat. Becase the weeds are three feet high in that spot, no human on land can see it.
After my outdoor hijinxs, I was a bit of a mudpuppy from flinging flora and slippery clay mud action. I returned to the indoors and bathed. Oh yes, I bathed.
What followed was an assortment of cleaning tasks: vaccuuming, some dusting, cleaning up the kitchen. I then took the two frames I acquired from Ikea and filled them with my prints from the Tate Modern.
The first was the Great Bear by Simon Patterson. If you are not familiar with Simon Patterson's work (I would be included in that group, but I liked this piece in the museum) here is an exerpt discussing his work:
Best known for his reworking of the London Underground map, The Great Bear (1992), Simon Patterson makes art which centres around the playful subversion of familiar classification systems. He draws unexpected and extraordinary connections between people, facts and ideas by fusing recognisable visual forms with incongruous conceptual associations. That these achieve their own kind of legitimacy shakes our faith in common logic, opening the door to a universe governed by curiosity and imagination. Simon Patterson was nominated for the Turner Prize in 1996.
The other was After Lunch by Patrick Caufield. You can find a quick summary of Patrick Caufield's artistic life here.
I hung them in my entry hallway leading to my living room. I am pleased. I may move them around later, depending upon if I want to look at them and contemplate them more often.
After the episode of domesticity, I got dressed and my friends showed up. We shuttled off to the Elk Grove Brewery for some gnoshing and brew. I had the Boch Lager, which was quite buzz-inducing. Then two other friends met us and we went to see the guitarist. Dan Mills was not as good as he was the first time I saw him. So we left one capuccino later, and retired to my abode. There, one of our numbers entertained us with his guitar playing and a song he wrote himself. He was quite good, and entertaining. Subsequently, we played poker, drank, played Wizard, talked smack about everything, quoted obscure songs, drank a bit more, and then they went home.
After they left, I ended up staying up until 2:fucking late o'thirty playing around with my nylon stringed guitar; tuning it and practicing some chords and arpeggios.
Hence, I woke up at 11:15 am. Tsk, tsk.
Anyway, I'm off to work out a bit and carry on with my day.
With the remaining third of the weeds, I did carve a big letter "A" in the thatch, so that overhead aircraft might have a treat. Becase the weeds are three feet high in that spot, no human on land can see it.
After my outdoor hijinxs, I was a bit of a mudpuppy from flinging flora and slippery clay mud action. I returned to the indoors and bathed. Oh yes, I bathed.
What followed was an assortment of cleaning tasks: vaccuuming, some dusting, cleaning up the kitchen. I then took the two frames I acquired from Ikea and filled them with my prints from the Tate Modern.
The first was the Great Bear by Simon Patterson. If you are not familiar with Simon Patterson's work (I would be included in that group, but I liked this piece in the museum) here is an exerpt discussing his work:
Best known for his reworking of the London Underground map, The Great Bear (1992), Simon Patterson makes art which centres around the playful subversion of familiar classification systems. He draws unexpected and extraordinary connections between people, facts and ideas by fusing recognisable visual forms with incongruous conceptual associations. That these achieve their own kind of legitimacy shakes our faith in common logic, opening the door to a universe governed by curiosity and imagination. Simon Patterson was nominated for the Turner Prize in 1996.
The other was After Lunch by Patrick Caufield. You can find a quick summary of Patrick Caufield's artistic life here.
I hung them in my entry hallway leading to my living room. I am pleased. I may move them around later, depending upon if I want to look at them and contemplate them more often.
After the episode of domesticity, I got dressed and my friends showed up. We shuttled off to the Elk Grove Brewery for some gnoshing and brew. I had the Boch Lager, which was quite buzz-inducing. Then two other friends met us and we went to see the guitarist. Dan Mills was not as good as he was the first time I saw him. So we left one capuccino later, and retired to my abode. There, one of our numbers entertained us with his guitar playing and a song he wrote himself. He was quite good, and entertaining. Subsequently, we played poker, drank, played Wizard, talked smack about everything, quoted obscure songs, drank a bit more, and then they went home.
After they left, I ended up staying up until 2:fucking late o'thirty playing around with my nylon stringed guitar; tuning it and practicing some chords and arpeggios.
Hence, I woke up at 11:15 am. Tsk, tsk.
Anyway, I'm off to work out a bit and carry on with my day.
