2013
PRICELIST
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POSTER 03
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POSTER 01
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NUDES 03
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NUDES 02
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2012
2001
$42
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CONVERSATIONS WITH ANDY BURKHOLDER LESLIE WEIBELER AUSTIN ENGLISH CLARA BESSIJELLE JASON OVERBY AIDAN KOCH
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218 pp
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CONSTRUCTION
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CAPITAL
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STAR TREK: THE NEXT GENERATION TIMESCAPE (1/3)

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MOLD FOR CASTING PLASTER
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48 pp
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DRAWINGS
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2011
CRUISE
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CRUISE
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Cruise
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2010
THE WHALE BY AIDAN KOCH
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64 pp
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YOUNG LIONS
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2009
UNTITLED
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interactive screen




committing to an idea, realizing a gesture, no matter how small - brainstorming even, mapping ideas - transforms potential energy into kinetic energy. even thought patterns - the reinforcement of neural pathways - inscribe limiting and increasingly structured parameters. but these structures allow for momentum to build. reinforced structures may trade broad potential for specific, linear exploration.



reading and writing are linear activities. one can instantly 'read' the gestalt of a book (for example, by looking at its cover) but only with the recognition that this gestalt is the 'first word' within a directional text. one can also immediately 'read' a painting as a painting, or a table as a table - a word as a word - and stop there. but the potential for linear reading always exists. a line viewed head-on appears to be a point. 'recursive' and 'elliptical' readings occur within a linear structure. a moebius strip may read as an object - (and this reading may continue along these lines, as a sculptural or symbolic text) - but the strip itself (as a two dimensional text) is read linearly. the static 'gestalt' occurs in parallel with [the realization or potential of] a unidirectional reading.



i have been largely concerned with gestalt recently, and this has led to inaction. rather than texts (like this one) which extend a single line, i attempt to visualize an entire text instantaneously. conceiving of certain points, imagining where intersections might occur if perspective is shifted. careful not to 'draw' these lines because of the linear nature of drawing. the seeming impossibility of non-linear creation within the linear context of time. the unavoidable loss of energy in transfer from potential to kinetic.

while working on 2001 i felt linear momentum that approximated that of 'reality'. a virtual world sustained by my own participation. recently i have felt less of a desire to escape the real world than to re-engage with it (with 2001 remaining a strong possibility). but how and for what purpose? i primarily experience privatized motives: to influence/engage the flow of cultural and monetary capital in a local setting, to form connections with others, to position oneself strategically within society, personal therapy.

is 'comics' as a cultural/historic text worth engaging and/or possible to avoid? reform or relocation is necessary in order for certain readings to occur on a mass/public scale. relocation involves adopting (and possibly reforming) new language. is there some inbetween - a space on the fringe of multiple languages in which [...] might occur?



the public reading of a text unalterably rewrites the text itself. the publishing company that publishes a work, the anthology that displays it, the store that sells it, these are determining factors in the creation of a text. language/design/gestalt is often the first word of a text. in this sense my attempt at nonlinear creation resembles linear writing, a line that runs from abstract (distributed authored object) to specific (individual private reading). am i simply stammering over the first word in a potential text?

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comics online
2001
moon
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cat

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jason overby
austin english
aidan koch
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sarah ferrick
john rogstad
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