Nathaniel Parsons | Ly Nguyen

Flowers by The Verms (2011)

Chagrin River Flooding February 8, 2008

Indian Rock, Berkeley, CA

The trajectory from the playlist to the written/2-dimensional inspiration to the work at Intersection:
Ly Nguyen:
Upon receiving NJP’s playlist, love and nature crept into my mind immediately.  Weeks went by as I sat with the playlist; I began to read about the growing environmental issues surrounding us.   Gazing at the peace and beauty of Indian Rock gave me hope as I read about recent mining in places near and far displacing and harming communities.  Catching a glimpse of the clear and powerful Chagrin River in Ohio contradicted the news of Lotus Lake in Da Nang, Vietnam haunted by Agent Orange.  Despite the natural destruction that occurs worldwide, there’s hope and beauty that helps human kind survive.  NJP’s playlist sparked a dialogue within me and illuminated the dichotomy that we all experience.

Nathaniel Parsons: A friend’s band, my hometown river at flood stage, and my favorite respite in Berkeley. I was encouraging a dialogue with Ly that I saw inherent in her writings, one where there was not a trace of theory or objectivity, a place where the personal, if shared informs us of the world’s /word’s truly universal ideas. Pride in hearing a friend produce a jubilant hook. The moving image of something known but not always present. The place that seems naturally restful but that on closer inspection shows how it has been altered to make it more accessible.

Re-interpretation/contemporary expression of the traditional “broadside”:
Our broadside in many ways acts as an announcement just as traditional broadsides once did. The difference is that we are announcing a world issue that doesn’t have an expiration date and we hope to inspire audiences to take action.

The work reflects the literal quality of direct action through the lens of open interpretation. Was the water dangerous before erecting the signs? Of course. Illustration? Illumination? Reinventing the found. Re-contextual games, the heart and blood of postmodernism, but ours is lacking irony. The criticality is the fact that our work is personal. The added rub is adopting the image of it being open and translated. Like the intent of the public “art” work Peace poles ( Our image is rooted to personal experience, a fear of danger. How can something so banal as water be dangerous. Haven’t we seen?





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