Blake , teacher,artisan, critic  rYou can learn more about blakes, including his Meditation  his newest work: available  Original. This episode is brought to you by: Squarespace - Use offer code: to save 10% on your first site.   Visit and use code at checkout for 30% Off and FREE Shipping on your first order!his website is provided to you in regards to seeing that all the bases are covered in relation to being able to write a statement as well as complete a contemporary artist presentation enjoy I hope everything helps can also reach out directly if you would like to get the A+  Currently remastering this website features are disabled at the moment hyper links and back pages may be disabled please take at face value Method of contact alamoartworks@gmail.com website last edited 3/3/22 / New York City  currently republishing on a new platform stay tune  

First New York group show posted below “Connecting the dots” — Alamo Artwork​ Student art exhibition offers a multiplicity of healing and metamorphosis​​ Just when you think the show is over, the metamorphosis complete, you must forge ahead to discover the final installation. “Connecting the dots” by Alamo Artworks hangs on the wall in the restroom. As a culture obsessed with our looks, the restroom is perhaps the most intimate and mundane cocoon we emerge from daily after performing rituals of self-care. It seems only fitting that an exhibition interested in growth and development should end in this unlikely space. The work is a necklace of styrofoam and a meditation on the interconnectedness of seemingly disparate events. It is a game of dominos, a butterfly flapping its wings accompanied by a distant hurricane and the chaos that strings together change. It asks us how we are connected and how we will emerge together. Artists archive of work

Outsider info reviews HOW  would you say this another way? I dont understand it- 

OHHHH its a collection of comments to you from your reviewers - right?

• Started in craft 

• Crafting artistic image is the work about myself or about the work itself

• Walls as surface to build upon

• What is visibility/accessibility (skate parks) 

• Space allowing blake to make his voice 

• Emphasis on community over profit-reliability, professionalism

• Graffiti is reflection of painter

• Freedom space- opportunity for other voices to reflect freely, a voice for felon

• Going forward: Fluxis, styrofoam, camouflage

• What persona? What message does it have? Graffiti doesn't have a message other than fame so that must contrast with your emphasis of spreading a message

• Maximalism vs creating for free 

• Style - how has lack of painting background affecte current work

• Blake response= fire extinguishers were unusable, teaching himself graffiti style from around USA to catch up on lack of background

• Hearing blake speak about his work made it make more sense

• Blank wall is exciting because it is conceptual

• False sincerity, are you being honest with yourself? When you are defensive, why are you defensive

• Take people with you to graffiti 

• Sort out your personas

• What model can you follow to bring graffiti into the art world? Activism vs melding the two worlds together

• Write down your goals/ practice grant writing

• Your statement is like Reading an avalanche- slow down and reflect, what is the thing your trying to say

• Which words do I really need which ones should you omit   \

• To be appreciated you need to first be understood************  This IS the bottom line.

•  

OHM’s law

current = voltage/resistance (i = v/r)

or

Resistance = voltage/current (r = v/i)

or

Voltage = Resistance * current (v = r*i)

There is a relationship between voltage, current and resistance, discovered by Georg Ohm, a German physicist.

for example, Increase the resistance, less flow.

Using above as frame is GREAT - but there needs to be a clear connection between the titles/ framing  and what you write. There is none yet. This writing is recognizably your voice. In some ways this is very cool - in other ways it is not doing the job of communication - its actually doing the opposite: making a wall. Like a wall of rushing wind.

Below: I recongnize the way the words are arranged; they dont make any sense yet.  Its Like Words are spinning around an empty space where the meaning might be - like a twister.  All kinds of words whipping around in the storm - the eye of the storm is still–empty. Is this the art itself? Are you after nonsensical feelings? Is this the fluxux part?

Part one          current

A insiders Performative into a  flux happening 21+

an embodiment to my understood views and decision to be upholding a  life's experience to seek the desire to translated throughout the informative  information throughout lifes journey  In space time .  With ambitions to one day complete the practice in a defined definition of a collectors decision to confront the series to fill the complete embodiment of ones ability in providing circumstances that translate into lives representation (

If that was  the fluxus part, why is the word construction the same in this section below? What is the product part?  I read through the jumble to find again a desire for a “blue chip”gallery - but no idea of what you might bring to that. 

Part two (working from product )

Building up a  Conversation that translates into the unseen aftermath of these dissolving perceptions towards a life that couldn't be lived. can be held measured to the caliber of  a contemporary Blue chip meteor representation throughout my reinterpreted to the one System in key holding

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Bellow:

Im hearing parts of our older conversations - that is fun and wierd to hear it all strung out this way. I read this next section and i think you want to make everything dissolve so you can just walk up the red carpet onto the throne and be the next king by simply dissolving the walls of the system. Like Duchamp or Koons – BUT even they had “things“ to demonstrate where the cracks in the system were. Yours could be your words and your stuff if you can hear yourself - HOW do you hear yourself?

What is paper printed on

Part 3 

Uphold a movement in relation to dissolving the generosity of these spaces is the meaning to the art world's definition of creativity in 

movement present relation with these circumstances  Seeing the last future person of the movement in relation to dissolving liminal rabbit hole)

OK.. BELLOW

this is an essay someone heavily edited for you to get in to the Museum School ( SMFA). And then likely SVA.

Im not sure any of this helps you with your thesis proposal.

You have to find and commit to the thing you will do- or make - or use the way you talk to perform the current going through your head and body. That, along with your collecting and purging are the most compelling thing I have seen in a long time.

CAN THESE TWO THINGS BE JOINED TO MAKE YOU ART?

(You shold know - in this case, and with your resume, nothing before MFA counts. You need to list your BFA and the year you got it and you can list any awards AT graduation in the next line. but that’s it. No shows, or anything before that date)

Entering the conversation 

Creating a conversation in the art world starts with knowledge that can be acquired through life experiences or formalized learning. Although apprenticeships are stressed in other countries, I chose to enroll in a state of the art traditional classroom setting at the School of the Museum of Fine Arts at Tufts University in Boston, Massachusetts, a world-class, university city with a vibrant art community. Attaining an interdisciplinary bachelors degree in fine arts allows me to use various mediums, from 2D to 3D to VR, in order to better understand the subjective nature of art. Students from all over the world gather in Boston to discuss their unique cultures and viewpoints on 21st century topics. 

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STEP ONE: LEARNING FROM THE CONVERSATION 

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Weekly critiques in college allow me to have a better understanding of my art through other artist’s reactions, feelings, and points of view. It is from these critiques that I hone my perspective of the conceptual aspects of settings and time 

in today’s art world and navigate through small box galleries to slowly build my name, eventually working my way towards a broader audience.

STEP TWO; CONTINUING THE CONVERSATION

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My mission is to convey my knowledge to future art students and channel their vision so they can best continue their conversation with all things considered.

Artist Statement   - "My work is a space for nature to inhabit. While these works are documented in spacetime, in a question for function in active settings, the documents live as matter to carry out a conversation into sustainability addressing  problems to remediate while challenging the inherent qualities of the material and how society constructs material norms  as well as having work equally respectful and challenging as it acknowledges the space before providing to nature."

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Blake Oliva Artist Statement

Intention, Importance and Interpretation of Artwork.

I want to provoke conversations that challenge the inherent characteristics of society. My art disrupts perpetuated norms to acknowledge that the alpha governs over even the most vulnerable. While upholding my appreciation for art, I do not and will not hurt myself, the people around me, or the environment any further. When being the maker and only working within the environment and its rules, an acknowledged negotiation of respect must be considered.  

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My story began the second I entered american sculptor, Jerry Mckenna’s studio. As a 13 year old boy, I was fascinated with his sculptures made from wax welding and castings of bronze. While viewing his work, I was in awe and was very impressed with how he was received by other people. I had met Jerry through an invitation for my parents to a Notre Dame football watch party, in Jerry’s home. The opportunity to see his work was of the utmost honor. Jerry was a modest artist. His beautiful home and creations allowed me to understand that only a dream leads to these accomplishments. He does what he loves and his statues are seen today on the Notre Dame campus, as thousands of people walk by. He inspired me to see the behind the scenes work that I could never understand. When I asked him, he instilled the idea that art is in the beauty of God’s eyes. This experience of meeting Jerry carried on with me and impacted me to become the artist I am today. 

Art has always been around, although it was never considered to be a profession in the people’s eyes that I was around with. Growing up, I was always asked “What would you like to be when you grew up? What’s your favorite class?” My first response was that art was always number one and math was second. Seeing how people reacted to my first response, I decided that people don’t take my choices seriously, so I won’t bother with their judgements. During childhood, we begin to see things differently, but to me, I believe in respecting one’s true intentions and those who choose different paths than us.

From seventh grade going into eighth grade, I transitioned from public school to private school. Switching schools gave great positive outcomes. I had the opportunity to play sports --football, basketball, and track, while still deeply engaged in the arts. In the first week of ninth grade, during varsity football practice, I broke my left hand pinky catching a football over my head. The coach did not show support when one of his players got injured. This led me to realize what my priorities were - to fully dive into art.

My former upper class art teacher, Jill Ewing, helped me discover potential opportunities in the art world. With her guidance, I was able to submit work to TAPPS (Texas Association of Private and Parochial Schools) art competition. I placed District in ceramics and went to State. I established the first Art Honor Society at school and was elected as the first president.

Sophomore year I took every recommendation opportunity that arose from Jill. She directed me to Southwest School of Art. Although I was only 17 then, with Jill Ewing’s blessing and letter of recommendation, I met artist and ceramist, Dennis Smith at the Southwest School of Art. Dennis Smith was allowed to take his community advanced throwing class for adults. The classes were held in the newly built Dennis Smith studio. Dennis taught me several ways to use and improve my techniques on the potter's wheel and most importantly, how to approach/appreciate the work, as well as exposing me to a very diverse art community with opportunities from various artists. 

Jill also suggested applying to Artpace Teen Council, to be a part of Bee Nation, an art after school program. The Artpace was created to create solutions within the community that procured vandalism. I became fortunate to be one one of ten students around San Antonio on the Artpace Teen Council under Taylor Browning, my Artpace supervisor. I soon became one of fifteen chosen on the Southwest School of Art Bee Nation-- both after school programs. 

I saw a different side of San Antonio, when I frequently visited downtown. The occasional field trip to the Alamo or Fiesta turned to an annual occasion in my life. There were such beautiful works created and displayed downtown, enveloping the culture I wanted to represent. I remember going into The Paint Yard, and meeting cool artists and viewing murals on the walls. At a very early age of my art career, it showed me how the impression these works have had on the community. These works of art had me stop and walk into The Paint Yard, the outside aesthetic drawing me in. My first impression was how wonderful opportunities could be presented here, seeing a wall of spray painted murals, with an art gallery to the left. The conversations and collaborations held between mutual artists left me in amazement and encouraged me. Graffiti artists Exhaust and Skunk understood the importance of the Artpace Teen Council and how the whole existence of the council was to generate an understanding of respect for the surrounding youth to realize and respect the museum, despite cravings for vandalism. 

Soon after, I found an ad for a scholarship to continue art classes and was selected to take classes at Southwest School of Art until the age of 21. The recommendations and advice of my new peers to continue applying myself lead me to apply to NESA (North East School of Art) a recognized magnet school that has had a history in high professional turnaround. 

While submitting an application to NESA at the end of sophomore year, I once again applied to the TAPPS competition, going to District and State. 

On site design was one of the categories I entered in. I received an honorable mention, using my interpretation of  materials in a masterpiece / narrative conceptual piece with also pottery. 

The Chili Bowl events offered a wholesome meal out of a handmade bowl with all proceeds going towards the homeless or to fund the arts. Local TV channel 12 showcased the event including my bowl to ask the public to come and contribute to the arts. Overnight all my bowls were sold. I had no way to track any of the buyers down and no documentation to provide to my portfolio. One thing I understood was that these initial accomplishments reinforced my experience and CV from all the numerous volunteer demonstrations. 

I happened to receive an acceptance letter into the magnet program with an abundant portfolio of ceramics. Now being officially held in two block periods, I took Advanced art courses and was held accountable for out of school curricular homework. I first started with the summer requirements: having to paint 15 narrative paintings under full time makers, from naked figure drawings to gallery openings, required critiques, Scholastic Art competition, National portfolio day etc,. 

The spring of my junior year in 2014, I was selected to be the male representative from Artpace to attend its first National Teen Convention at the Institute of Contemporary Art in Boston, Massachusetts. It was an all expense paid trip. I shared and presented how child development and art spaces co-exist, creating efforts on rebuilding communities and how to divert the conversation into a contemporary progressive in space time. Under these roofs, the conference was very professional even though the whole thing was all run and surrounded by teens. For me it was important for my surrounding environment to see that I am as dedicated to the point of traveling for my profession and that this opportunity showed the surrounding individuals would do the same. 

In my senior year, I switched to my family’s alma mater, Antonian College Preparatory High School. A different school in another district and division brought me back to basic art classes, TAPPS, charities, and opportunities. I happened to be the first student in the history of ACP to take an Arts II Credit and Digital Media Credit Credit. These classes in particular allowed me to master my portfolio for National Portfolio Day. And in TAPPS I placed in District and State once again but under a different district comparing d/1 to d/5 .

A private art event called National Portfolio Day hosted schools to do portfolio readings in hindsight. Before applying to art schools, I was previously required to be evaluated the year before through NESA and it became the seizing moment of opportunity. My work was very well received and an amazing opportunity came knocking at my door- I got accepted to the School of Museum of Fine Art. The Antonian recognized the benefit this provided me, which in return, the visual arts department budget was raised. 

It was easy to decide to attend the School of the Museum of Fine Art (SMFA) at Tufts University. I understood I could be a part of something that is never going to happen again. Attending a school with a multi-disciplinary approach to an art degree, in a city overflowing with college students, eager to create, discuss, and debate, had been the perfect environment to learn and share. I partook in great opportunities from giving the school higher budgets and being on the founding team that established the Skate Sculpture Club- the number one funded and most active club on campus.

The community gathering that met up every Friday 12-2pm in front of 230 Fenway, presented a sculpture that invoked imagination for function. The options were in consideration was to be skated and considered any function or interpretation #AllWheelsWelcome.

The current community was to either catch up on lost time or to experience for the first time, skating. The skate club established a mural club and provided outside painting, styles, rubrics and gave students the ability to express themselves with new material to explore and build an appreciation for how and what makes up their environments throughout school. 

My brother once told me that perfect timing is a blessing from the Lord. I truly believe that being in the right place at the right time, played a key role in the development of me becoming the artist that I am today. Although being intimidated by the arts when younger, what I have found through my classes at Tufts was astonishing. In child development courses at Tufts between the ages of four and six, artists are discouraged and by the age of eight, they lose all inspiration for imagination and regain it at the age of 80, it is called the U Effect  for the abstract is passed off for hyper realistic. 

I remembered a math teacher asking me about my future plans in life in third grade and I responded that I planned to wander the world in a Volkswagen bus painting portraits . At the young age of six, I had already decided what I wanted to do for the rest of my life.   Somewhere between those years I fell short and discouraged from pursuing a career in the arts but when recalling back to earlier years, in second grade, I was chosen to represent the Roan Forest Elementary Art program Scholastic Art program held at Blossom Athletic Center. At Frank Tejeda Middle School. I was picked to showcase work during the opening of Antique Orthodontics. The compliments received from those initial teachers further fueled the flames to this dream. 

After 120 college credits, there was another National Portfolio Day to prepare from graduating school a semester early. I knew I was going to use this time to prepare for grad school. My obligation to educate myself was taking the responsibility and understanding materials, culture, and using history to interpret that narrative. The consideration for the elements of style and conceptual theory to go hand-in-hand considered to uphold authenticity in any demeanor of work as true.

While returning to my hometown, San Antonio, a semester early, the world faced an ongoing pandemic. It reached American schools, they  closed and started to transition to virtual learning, putting 

people out of business and gave others an opportunity in the current situation. At The Paint Yard, the current manager resigned and the position became available. I applied and was interviewed with the old school cats about the original shop on San Pedro. There was constant talk of where the shop now stands on its third location. This led me to realize what it is to own and hold space even if history has moved on.  To provide someone the experience of a safe and friendly environment as a manager, it reflected the experience of what I once had. 

I also understood that the rougher image of an artist’s intentions is produced when observing the graffiti and street art produced. Tremendous opportunities arose when I was offered to be a candidate to paint at various locations around San Antonio. This gave me perspective of working and the relations of labor versus time and expenses. 

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As I searched for wall space to paint on, I found that whatever was created would impact the community and no matter if it were the best or newest space, it would become transformative in that every shape or piece placed on the space would have an impression and uplift someone positively. And in time, the responses from the art would shape the artist’s life choices and inner self. 

Through my connections and a bold move, I found myself driving 16 hours straight to Miami from New York. I ended up at the Museum of Graffiti where I was able to harness the connection that associated myself with the museum. I felt a little lost, but the legends of graffiti reassured me and I knew what I was exactly looking for. I sought clarity from the legends and they extended the offer to kick back and contribute towards the next production. Once again, I gained a new perspective of art. 

I am allowing my life to unravel, upon stepping into this reality where being passionate about what you do, won’t feel like work at all. I have the ability to configure mediums and processes to showcase another body of work-- earned through my education. I’d like to go back to primal simplicity and allow viewers of my work to see it for the first time and not want it to be their last. I strive to make a long, lasting impression and hope to inspire many to do the same. 

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Hello

I hope that you are doing well!

I appreciate art counseling. I would love to see if we can schedule an appointment soon.  During our conversation, I remember that you offered to look at my art, website, and artist write ups and make recommedations. I have been working tremendously on getting the material ready. I have come as far as I can and now need to understand where it can go from here. I am open to virtual calls as well as in person or just through email … whatever you're comfortable with.