Well, I work all over the place, thanks to laptops and wireless internet access. Usually I work around the house—the living room, bedroom, bathroom, kitchen, backyard, garage—but sometimes I work around town, or at my job. I really like Edward Picot’s dream to have a room on a cliff overlooking the sea, which reminds me of my favorite place in the world, Cadaques, Spain, and especially, Cap de Creus. (http://www.cbrava.com/capeng.htm) the ‘last outlet of the Pyrenees” before it plunges into the sea. I’d like a place here, overlooking the edge of the world. (What drama, no?). Salvador Dali lived and worked in this area and incorporated this dramatic landscape into his art.
Some of my work, solo and collaborative:
http://www.threecandles.org/poetry/delaflorseatonsnodgrass.html
http://www.lodestarquarterly.com/work/312/
http://www.42opus.com/contents/archives.php
my name is wolfgang dorninger (http://de.wikipedia.org/wiki/Dorninger or
http://www.servus.at) from linz, Austria.
pic1,2: my soundstudio in Linz, Austria: at the moment I do the mixdown
(http://en.wikipedia.org/wiki/Mixdown) & mastering
(http://en.wikipedia.org/wiki/Mastering) for “Nasca, on perspective”
(more info: http://www.servus.at/fadi/io/art_nasca2.htm) for base
records (http://www.base.at).
pic3: Stadium Letzigrund, Zürich (FC Zürich - Grasshopper Zürich) -
doing soundrecordings for a sound-installation “Südkurve”for an
exhibition on soccer-fanculture this june at the O.K Center for
Contemporary Art (http://www.ok-centrum.at/english/english.html)
What do I do there: an interactive soundinstallation dealing with the
choir/chants of soccer fans. 2nd part of the installation is a remix of
soccer-songs published on vinyl from the last 30 years.
My studio is in my basement. It is a work in progress. The plan is to have a space I can work on dirty material like clay, wood, and metals and a clean space where I can paint. I designed easily that are 6’ x 10’ and the spin so that I can work wet-on-wet in a table manor and stand them upright to do traditional painting techniques. My fiends make fun of the neatness of my space. I feel by having a place for everything allows me to work in as many different materials as I do. I can be painting in one space and allowing it to dry before proceeding while soldering and grinding metal in another space.
I find real respite at Oleander Cottage, www.oleandercottage.com, a two-bedroom cottage with a private garden and swimming pool, located in the French hamlet of Montgaillard. The hamlet is a village fleuri in the French countryside. It’s famous for its lovely flowers, so beautiful scents fill the air. The local walking paths have been trod by pilgrims for centuries, and a medieval chateau is only a bicycle ride away. At night, the frogs sing and the stars sparkle. I feel lunar-powered there. Every Saturday, there’s a market in nearby Beaumont de Lomagne. With all my senses satiated, I write. I can see the chapel from my window, and the oleanders flourish everywhere. It’s said that fairies take their vacations at Montgaillard. When I’m at Oleander Cottage, I feel deep inspiration.
My name is Wilfried Agricola de Cologne,
multi-disciplinary media artist, living and working in Cologne/Germany
My space is actually a virtual and philosophical space, which is hosted by a network of computers and media equipment. I call the image “open source” as all computers are open in the sense of the word also as as an inspiration of what I am doing. The room however is not an open but closed and secret space, and only some initiated people is allowed to enter. As a virtual space connected highspeed with the Internet, however, it is wide open as it represents the center of a worldwide acting network of artists and virtual and physical instances of different kind who are welcome to enter the virtual space and communicate.
Some links
http://www.agricola-de-cologne.de
I am in my studio in the Hudson Park of Buenos Aires, Argentina, April 22, 2006, doing my last artwork, an instalation cum performance called “AIRE” during the event S.O.S. Tierra curated by Daniel Acosta. I had a hard and cut respiration in sound “off” (recorded sound previous). In the tree the word “AIR” hungs… The representation (the word “air”) substitutes the real element, the air.
Wellesley, Massachusetts, USA
I do my work at home in this ground-floor study that looks out onto trees
and shrubs in the backyard. I’ve lived and worked in a number of different
places, and I’ve been fortunate in almost always having a tree or two to
gaze out at when I’m afflicted by the creative process. The most
distinguishing characteristic of my current workspace is that it’s become
infested with snippets of my writing that have attached themselves by means
of stickers to various surfaces in the room. I’m being overrun by Logozoa,
or textual organisms — the offspring of my latest writing project. The
Logozoan on my computer monitor recognizes that my habit of gazing into the
trees while I ponder has been supplemented by a newer habit of gazing into
the Internet’s dark forest.
URLS:
Logozoa: http://logozoa.com
Home Page: http://robertkendall.com
Word Circuits: http://www.wordcircuits.com
This is my desk. I keep my laptop & desktop computer here. I keep a notepad and various notes nearby so I can add them each night to my laptop, which is where I do the majority of my work. The desktop is used to hold larger files. I produce my blog using the laptop. My music blog, Signifying Nothing, is also produced via the laptop. The weekly podcast I do for Signifying Nothing is created using my desktop because that is where my music is kept. In this picture you can see my mic, where is the only external product I use when creating the podcast. Also note the multiple cups of coffee; that is always essential in any space I occupy.
My room.
Blog: www.wpwend.com
Signifying Nothing: sn.wpwend.com
The Podcast: radio.wpwend.com
Baltimore, Mt. Vernon neighborhood
The living room of my apartment in the Mt. Vernon neighborhood of Baltimore is my working studio. Of course, I also write in other places: in parks and cafés, on buses and planes. But the living room is the place in which many of my poems actually get finished or, as Paul Valéry would say, abandoned. The space in which I read books, listen to music, entertain guests, etc. is also the space in which I write. This strikes me as significant, but I would be at a loss to explain why.
Biographical Note
Piotr Gwiazda is the author of Gagarin Street (Washington Writers’ Publishing House). He has published critical essays and book reviews in Chicago Review, Contemporary Literature, PN Review, Postmodern Culture, the TLS, and elsewhere. He is an Assistant Professor of English at the University of Maryland Baltimore County in modern and contemporary poetry.
Links
Poem “The Flag” on Beltway http://washingtonart.com/beltway/gwiazda.html
Poems “Travels in Outer Space,” “Aardvark, fat” and “Evidence” on Swink http://www.swinkmag.com/gwiazda.html
Poem “The Meeting” on Drunken Boat http://www.drunkenboat.com/db7/index.html
Washington Writers’ Publishing House http://www.wwph.org/gagarinStreet.html#poems
The UMBC English Department http://www.umbc.edu/english/faculty.php
Robert Archambeau on Gagarin Street http://samizdatblog.blogspot.com/2005/11/piotr-gwiazda-knows-how-it-feels-to.html
http://samizdatblog.blogspot.com/2005/11/fringes-of-msa-and-axis-of-ambition.html
These are my collaborators, Kristine and Neil (photo 1), the day we met in Miami to write poems at Gelato Station (photo 2) on Biscayne Boulevard, right next to major road construction, which was, albeit, distracting and made Kristine keep writing about the napkin holder on our table and made Neil make a face at her. But first we had salads across the street from Gelato Station at Andiamo’s. This is not a plug for Andiamo’s or Gelato Station. They’re both okay places to eat but, really, their greatness lies in the capacity of their proprietors to leave us alone so we can write. Kristine came down from Tallahassee and Neil drove a little way from his house in Miami, and I drove a little further from mine in Hollywood, and we met with our computers and we never get to do this-only one other time did we ever write in person together. We are all Floridians, but since our state is as large as the entire country of England(!), we make due with collaborating over e-mail, which works well, but sometimes you just want to see your co-authors’ facial geometry. Writing al fresco is one of the sweet things about living in South Florida-between December and May, we’re in paradise.
My name is Maureen Seaton. My collaborators are poets Kristine Snodgrass and Neil de la Flor.
The place where I work is small, but has high ceilings
which let in a lot of light. There are three rectangular skylights at the
top of my room. I like to look up at the clouds during the day and
the stars at night. The place supports my work in that I can customize
it for my need to work in new media or in photography. There are two
square pieces of cloth with dragon patterns on the wall, which I use
as photography backdrops. My built-in desk holds my computer which
I use to create digital artworks. I have fashioned my own world in which
to create. The space was so inspiring that now I am working on a thesis
based around modelling the space as a computer game. People are invited
to be both visitors and voyeurs by entering my room(s) virtually.
http://design.ucla.edu/~alana3/php_site/
http://www.sscnet.ucla.edu/ioa/eisp/history/years/dispatches/2003/2003dispatchjuly.htm
An architect friend built this studio for me in the front room of my
old railroad flat in Tribeca. (I’ve lived in the neighborhood for 30
years.) Through the small sliding door is a sleeping space, hardly
more than a slot, with a pitched and raftered ceiling that supports a
storage loft, accessible by ladder from the studio proper. The
dividing wall is for hanging current pictures, to look at them in
process. Up in the loft are stored miniature constructions (a couple
of which are on the fireplace mantle). The room gets north and west
light, good for painting from late morning to late afternoon,
depending on the season. Not visible in the photo are steel racks
filled with art work. Supplies are kept in two large file cabinets
with long narrow drawers, each labeled according to contents, e.g.:
red, blue and white oils; greens, yellows, violets, browns; a drawer
for tapes and blades; frames, etc. The other cabinet holds miniature-
making stuff; drawers are labeled: Plastics, Wood, Paper, Sticks,
Boxes, Foliage, Metal, etc. I actually work throughout the entire
flat, which consists of four good-size rooms and the bath. The large
table in the kitchen is my main work table. More storage shelves in
the other sleeping room. A small closet, divided down the middle, is
half for clothes, half for archival material (slides, catalogs). An
ancient built-in wardrobe contains other supplies and paintings.
Other file cabinets keep hardware supplies. The entire is self-
contained and shipshape, and there’s no place else I’d rather be.
– Jane Freeman
www.artoftheminiature.com
www.wordplayjane.com
www.forum.connpost.com (Blogalogue)
www.nyartistscircle.org/artists/freeman/freeman.html
half of my bedroom
apartment 1606
furniture provided by
Haidian Foreign Language
Experimental Shiyan School
Beijing
near the 4th ring
west side of the city
building 10
16th floor
a curtain over the window
behind the computer remains
drawn
blocks surveilance
cameras in a window
in building 9
i write elsewhere
in the kitchen or living-room
this is where the work is finished
if it is ever finished
i begin to seek the world
those people reach
from the little wooden desk
in Chinese A.M. either
before or after day
begins or ends
Writing and working in Beijing, China.
<http://marcacci.blogspot.com/>
<http://subterraneanpoets.googlepages.com/>
–
Bob Marcacci
It seems symbolically important that my study is at the top of the house. My work might be quite different if produced in a basement. Perhaps I ought to try it. Ideally I’d like to be in a high room on a clifftop overlooking the sea, but a high window with a view of sky and treetops is pretty good. Having said which I spend most of my time ignoring both the view and the room itself for the sake of the computer screen and whatever’s going on in my head. Also, the afternoon sun sometimes comes in so brightly that I have to draw the curtain and shut out the view, in order to keep brilliant reflections off the surface of my monitor. Sometimes at night, however, the rain tapping against my window brings me back to the here-and-now; or moths with brilliant red eyes burring their wings against the glass, yearning towards my bare lightbulb; or on hot days, zebra spiders launching prickly miniature explorations across my desk.
- Edward Picot
http://edwardpicot.com
This is my Purple Note Studio, which is in the den of my home in
suburban St. Louis, Missouri (Arnold, to be precise). Because space is
at a premium everything is computerized or rackmounted. Most of my
instruments are contained in the vintage ham radio rack I purchased from
a guy down in Perryville, 50 miles south of here. Behind the back wall
is a walk-in closet converted to a vocal booth. With this arrangement,
I can record my electropop and produce my Internet radio programs with
family around but without disturbing them or being disturbed — I just
have to wear headphones when I play the keyboards and keep the kids from
messing with the computer while I’m in the closet recording vocals.
Above my monitor hanging on the wall is a photo montage of the last time
I played live, in 1991 at Bradley University in Peoria, as my sort of
inspirational poster.
My name is David Vesel. My music web site is at
http://davidv.purplenote.com . My Internet radio web sites are at
http://efn.purplenote.com and http://spellbound.purplenote.com respectively.
The image I’m submitting: Cook Library at Towson University workroom. I do most of my work here because I find I can only work in sprints: I’ll have 5 or ten minutes to work on an idea and jot it down. The jots become bigger ideas - but all taking place in the time of a few minutes. It’s like climbing a ladder with 4 feet. Of course, I do work in other spaces - but this one defines my work temperment.
My name is Christophe Casamassima. I’m a transfer to Baltimore, MD from NYC and work mostly with text. My work is all over cyberspace: google my name and check out my work. I’m particularly fond of http://www.generatorpress.com/pages/14/index.htm
Christophe Casamassima
Professor Emiritus, Modern Languages & Philology
University of Jamaica Avenue, Queens, N.Y.
name: James W. Morris
bio: Born 1975. Wannabe artist with an art degree. Currently employed working strange unsociable shifts in a factory. location of space: a small village in Kent, England, UK.
url 1: http://www.jwm-art.net/jwm-art-image.php?gallery=2005&set=paper&image=imagindustrial-revisited
url 2: http://www.jwm-art.net/gkII
image 1:
This first image is of ‘my studio’, but really it is my parents garage with whom I live. It is a multipurpose space in a state of flux between the uses it is put to. Here I make my paintings, from the construction of canvas supports, and stretching paper, to painting itself. The space is also used for rebuilding bicycles and storage space for parts of old machines, bolts, wires, tins, the usual type of junk you find in garages and sheds the world over.
image 1:
This second image is one corner of my bedroom. This is where I design and maintain my website offline away from the internet. Where I experiment with open source technology and digital artwork. The room is also one of the few places in the world in which my artwork is displayed. I have lived here most of my life with the exception of three years at
university up north in Sunderland.