Somehow it’s September and in the New York office, the preparation for winter begins. I know, it’s mildly melodramatic, but much as the springtime harbors thoughts about gardening and sustainability, autumn brings it’s own cache of responsibilities. Or so I say as I nurse a pretty decent gash on my arm, obtained while attempting to prune a branch off an oak tree. Eh, what can I say, when you’re trying to remove a heavy limb that’ll pose at least a couple hazards in the first ice storm, it’s no small wonder the tree fights back. I’ll wear the scar with honor. Last week I took the train from Emeryville to Rhinecliff, ending a month of bittersweet nostalgia and art events that Paulina and I were more than happy to participate in. Along the way, I recorded almost 50 hours of continuous contact mic rumbles as the California Zephyr made it’s was east, choked by freight traffic, jammed switches and other maladies. Needless to say, the US rail infrastructure needs some work.
However, while we played out one narrative in situ, another wove it’s tendrils on auto-pilot. Again, another mildly melodramatic description, but in this case, I just kind of dig the alliteration. Two tendrils, both concerning the Bioprinting Project:
- From 07.14.12-08.19.12, the first installation of Bioprinting, originally pulled on 10.04.11 were shown as part of MUCEVI‘s Expo Sonora in Ciudad de la Imaginación in Quetzaltenango, Guatemala.
- From 07.14.12-09.30.12, the third installation of Bioprinting, pulled at the opening, will be hanging in the windows of WXGC in Catskill, New York as part of the New York Foundation for the Arts-sponsored MARK on Main program.
For more information on either shows, please feel free to get in touch and we’ll gladly point you in the right direction.