'Using your primary hand, place your fingers on any pulse point on the opposite side of your body (critical), and using your non primary hand, draw/paint/interpret your pulse.'
From NICK STROBELT–
'I would like you to collect water from the harlem river and vapor distill it in the gallery for drinking.'
From MICHAEL UTTARO –
'Take something definite and form, transform, mold it (etc.) into something else without compromising or losing the most important, essential or integral parts of either (what is important about them is your choice, or is it?). Have the filter or path between the two that decides its final form be defined by parameters of your choosing or, perhaps, its better for it to be outside of your control. Maybe not. Can you heighten the two in some kind of synergy? Can you turn the result back into its original state? Let there be no waste, let us be able to retrace your steps'
From EMILY ROBERTS-NEGRON (curator) –
'Make a connection using light to delineate a path'
INSTRUCTION EXPERIMENT: INVESTIGATIVE ACTION
An extension of INSTRUCTION EXPERIMENT, Investigative Action acts as both a performative action and installation – the result of five actions provided by the exhibiting artist and curator of the exhibition CONTOURS at BronxArtSpace.
The actions were as follows:
From DANIEL JAMES GOODWIN –
'Placing an implement over your eyes, hum notes to yourself in various random intervals and pitches for a period of ONLY 6 minutes and 13 seconds, and using only lines and a fine felt black marker, create a musical "chart" of your piece.'
'Find a piece of thick cardboard, at least 24"x24".
Whilst eyes closed, tear the cardboard into 33 pieces exactly, of random shapes and sizes. (33 represents the amount of vertebrae contained in the human body, arguably the most interesting arbiter of human "contour") Now, stack the pieces to one side of your body, and without looking at them, trace the outer edges of each piece, while interpreting ONLY the inner space of each piece, and
combine them into one.