PUBLIC MARKS with search paint

J. Bennett Fitts traveled some 20,000 miles to produce “No Lifeguard on Duty,” an investigation of America’s forgotten roadside motels. These vestiges of an earlier era—when families packed into their cars for summer vacations via two-lane highways—now exist in various stages of operation and disrepair. With their parking-lot-adjacent swimming pools prominently in the foreground, the motels reveal a decayed Americana and a near permanent sense of vacancy. However, beyond the cracked paint and the decrepit chain-links lies the nostalgia of life on the open road.

Of all the subjects in my stream - this one fascinates me the most. I love capturing one-offs that depend upon the element of chance. Using liquids as a kind of photographic paint allows me to do that.

Of all the subjects in my stream - this one fascinates me the most. I love capturing one-offs that depend upon the element of chance. Using liquids as a kind of photographic paint allows me to do that.

In Join Or Die, I paint myself having sex with the Presidents of the United States in chronological order. I am interested in humanizing and demythologizing the Presidents by addressing their public legacies and private lives. The presidency itself is a seemingly immortal and impenetrable institution; by inserting myself in its timeline, I attempt to locate something intimate and mortal. I use this intimacy to subvert authority, but it demands that I make myself vulnerable along with the Presidents. A power lies in rendering these patriarchal figures the possible object of shame, ridicule and desire, but it is a power that is constantly negotiated.

I approach the spectacle of sex and politics with a certain playfulness. It would be easy to let the images slide into territory that's strictly pornographic—the lurid and hardcore, the predictably "controversial." One could also imagine a series preoccupied with wearing its "Fuck the Man" symbolism on its sleeve. But I wish to move beyond these things and make something playful and tender and maybe a little ambiguous, but exuberantly so. This, I feel, is the most humanizing act I can do.

March 2009

What that translates to in action is an enthusiastic dropping of inhibitions, as people chase each other and playfully splash colorful paint, powder and water on each other.

Cover letters are all the same. They're useless. You write the same lies over and over again, listing the store-bought parts of yourself that you respect the least. God knows how they tell anyone apart, but this is how it's done.

And then one day a car comes out of nowhere, and suddenly everything changes and you don't know if he'll ever wake up. You get out of bed in the morning, and when you sit down to write another paint-by-numbers cover letter, something entirely different comes out.

You start threatening instead of begging. You tell impolite jokes. You talk about your childhood and your sexual fantasies. You sign your real name and you put yourself honestly into letter after letter and there is no way you are ever going to get this job. Not with a letter like this.

And you send it anyway.

Underlying the intricate geometric patterns of great complexity displayed in the art of the Shipibo people is a concept of an all pervading magical reality which can challenge the Western linguistic heritage and rational mind.

One of the challenges for the Western mind is to acknowledge the relationship between the Shipibo designs and music. For the Shipibo can “listen” to a song or chant by looking at the designs, and inversely paint a pattern by listening to a song or music. As an astonishing demonstration of this I witnessed two Shipiba paint a large ceremonial ceramic pot known as a Mahuetá. The pot was nearly five feet high and had a diameter of about three feet, each of the Shipiba couldn’t see what the other was painting, yet both were whistling the same song, and when they had finished both sides of the complex geometric pattern were identical and matched each side perfectly.

Could you paint a replica of the Mona Lisa using only 50 semi transparent polygons?