The saddest designer An Essay by Chia Amisola chias.blog I am tired of the premise that creation means productivity––especially in the laborious sense...Creation has become mangled with labor in a world that demands man to monetize all of their hobbies and pursuits. In return, it seems empty, almost sad, really––to be the designer spending weekends again on the screen. To tell you what I like to do in the weekends, I like to do the sad thing...The ‘good’ people tell you to detach your life from your workspace, but this summer, I think I’ve just realized how much I adore what I have the luxury of working on everyday. In the weekend, I make. I make not because it’s the only thing I have ever known, but because it’s the most certain way forward. To see the fulfillment of the workYour life adds up makingidentitywork
The web in decay is the web by design An Essay by Chia Amisola chias.blog When will there be a guide to best practices for archiving the web? Will the giants responsible for the platformization of the web make the act of digital archival any easier for us? Is it foolish for platforms like Snapchat or Instagram Stories to brand themselves as “temporary” when temporariness is impossible on our internet? Should the web exist as something organic, malleable, and destructible –– or as an eternal timekeeper? Is link rot more of a technological issue or a human one? Do humans want to know themselves forever? The Internet Is Rotting decaywww
In defense of disorder: on career, creativity, and professionalism An Essay by Chia Amisola chias.blog Professionalism is a lie, build what you love, explore everything. In today’s age of creation, anyone who attempts to tell you otherwise is lying. You’ll end up seeking what you traded for the rest of your life. Successful careers are not planned workcreativitybureaucracy
To absorb it or build your own Robert Smithson and other so-called land artists simply disengaged from architecture, placing their works in America's open landscape, leaving behind the museums and galleries Smithson referred to as "tombs". A new "expanded field" allowed artists to contextualize their work beyond the institutional frame of the museum or the commercial structure of a gallery. Richard Serra, who also began to move outdoors, at times chose to "attack" architecture, creating structures that disrupted or overwhelmed the buildings around them. The artists of the Light and Space movement took another tack. Rather than fight or flee the architecture, they explored and manipulated it, approaching architecture as a kind of found object, creating a series of rooms that incorporated architecture and architectural structures directly into their art. Bruce Nauman summarized it well: "When you work in a gallery or museum, the architecture is a given. If you wanted to have a show, you didn't have a choice, except to deal with it. You had to find a way to either absorb architecture into the piece of build your own." Michael Auping, Stealth Architecture: The Rooms of Light and Space Conditional art architecture