Danse Macabre

F*** Off

Speeding and roving light captured off the Chicago transit line.

 
 

Visual Poetry:



 
 Commute 

 by Cody Ryan Tippie 

 
 A web of winding rails,

interconnected they mind and weave.

Chancing distance afar cut short,

to commuters time and pace reprieved. 

 
 Of ease to traffics delight;

burden lessened of constructions millwright.

Fortuited cityscapes design overhauled;

to the release of stalled traffic appalled. 

 
 A stop afore; a platform change be it so;

dusked, dirted, stank, and rusted,

lay serviceable amenities in need of grow. 

 
 Persons of all walks standby to catch a ride;

from the disheveled homeless keep,

to the still morning drunken bar peep,

the stunning, but eclectic city thriver,

to the well-made suited office diver,

yet it be to the traveler skimming crown,

or the drugged despot stumbling round;

for mind of manner,

is thus skyway a diverse ubersetzer,

or translator from that of city to town. 

 
 Brown, Pink, Blue, Green, Red, Orange, Purple,

and Black run the lines thick and through; at intervals

unforgiving only frustration, worry, or anxiety might rue. 

 
 Albeit one of these lines is missing,

be it not present; nor exist it not at all.

For what should be the lies of the many;

shrouded within cages of pultrid walls. 

 
 Alas, long a’fore may I have read the station map a’rore,

mistaken be it were to relations that may n’ere have existed yet before.

A few minutes spat;

yet a carriage car arrives of late,

those waiting dashing and running,

to catch a place to sit of din from date. 

 
 Oh be the short commute underway;

of lights flicker and flutter zizzling by,

for lightscapade of the rushing boroughs,

washes away fraughted fret,

from daily endeavors to live or survive.

Commute

In 2009, Brian and Ryan walked four crosswalks from sunup to sundown. They photographically recorded the bottom of their feet every hour. Brian wore a new athletic shoes while Ryan walked barefoot.

Crosswalk-a-Thon

Eye see you, 2020 is apart of COSMIC LAG, an ongoing multimedia project, containing multiple explorations of space-time, consciousness, and human brain function. I use visual metaphors to construct a metaverse-- a (virtual or real) environment where two or more ideologies meet blurring the lines between them. The meta allows for the viewer to be presented with several schools of thoughts layered in conversation with one another; creating a feedback-loop of subjectivity versus objectivity. COSMIC LAG prompts the audience to see themselves from a new perspective, encouraging them to reflect on their consciousness and the complexity of others. By layering the real with the virtual I attempt to disconnect the viewer from their idea of self while simultaneously presenting them with the idea of connectedness between  all humans.


Eye see you, 2020.

Installation view ‘Many Ways Home’ 2023, Nonage Gallery, Singapore

Many Ways Home

Kleptomania

Brown Girl In A Ring (self portrait)

Attention Span On Spam

Taking Turns To Speak

Little Miss Strange

From There To Here And Here To There, Funny Things Are Everywhere

No One Alerted You

The Ringmaster’s Retreat

A Curious Monogram

Surface Agitation

Studio Sydney 2023

Art Pedestal (Issues & Opportunities)

Learning Without Shoes

The Carnival of The Animals (Finding Mikey)

Installation view El Nucleo Residency, Spain, 2023

El Nucleo Residency

Diluting Delusion

Installation view ARCO Madrid 2024, Galeria Ponce+Robles. Acquired by Fundación María Cristina Masaveu Peterson

Room Is Home

Building An Immune System

Drunk on Power 

Flight 1549

Space Jam

Japan

King Henry VIII

OnlyFans

Borat

Space Fetish 

Big Bird

Forest Moonlit Visage

a Yellow submarine and rusted crossbeamed mauer with figured depictions.

Submersion

Bouldered blithe and rusted yeats of calvaried and dually crossed rebarded rubble.

Artisan

Staked tierod off a Chicago city transit line; with diminuitive figured denisens of stone and the chained or tethered fox.

Stake

A multiple photographic image compilation resulting in a Viking Longship and imagery associative of the Titanic sailing outwards of different directions.

 
 Visual Poetry: 

 
 die Vikinger Krieger und Titanic bei Nacht 

 by Cody Ryan Tippie 

 
 Moonlight drafted of a midnight sconce;

dark and dreary on a sea flowed forth,

cold water hafted of winded early hour chills. 

 
 A night watch officer stands abrest;

of a battleships lone,

but quietly guarded pilot deck. 

 
 Scanning, searching, eyes darting;

from waters edge to pitch black silhouette.

Reveals and revels tricks upon the eyes;

of tired hours slumber do lids flicker and rise. 

 
 A historical visage of ner once saw,

of therein never told nor never sought. 

 
 Ghosts of time,

vestiges of long lost crew;

haunt the dark waters in search of life anew. 

 
 Officer attempts to blink away the mire;

for certain such can’t be real,

he’s only tired. 

 
 A Vikinger Krieger sails into sight onward by,

spirited Captain’s arm held ‘aloft ner ‘ahigh;

urging direction of crew to mount and oar,

rowing therein to waters none treaded ‘afore. 

 
 Wrought horn in the distance,

yet startles shockingly,

but stutters awake. 

 
 Be it yet of carved bone from laid sight,

or to that of auditory mistake? 

 
 Nigh never is but an airhorn,

that bellows and rakes.

Disrupting of that to unearthly stillness,

on dead waters of unbroken slate. 

 
 Arriving yet into sight slipping of fog,

just as clashed to conscious must be;

lay a mottled rusted steamship,

of early 1900s Olympic at sea. 

 
 Stunted of disbelief at a sight so tall;

majestic of times to be held in awe,

when grandiose of sheer size mattered all. 

 
 An intentioned shake of the head;

to senses of which to waken,

but yet startle and throw;

Officer therein tranced of visions,

none would dare know. 

 
 Quick of a sudden,

attention is shattered;

thrust back to reality,

that of which calmed serenity

at hand would utmost tatter. 

 
 Drawn back from a voice,

thrown over shoulder and clattered.

Tis’ the middle watch “Sir”,

best be in inside for a chap of Coffee,

and the logs update of hatter. 

 
 Seen anything “Sir”,

asks the replacement leftenant;

“Nah” ner answered,

be it something,

be it simply the untethered mind at play,

to nights lone,

dark denisensed expanse of seaworth’s way.

die Vikinger Krieger und Titanic bei Nacht

The "Fruit Study Field Kit," or FSFK for short, is an all-encompassing device contained within a wooden briefcase to reveal and explain the secrets of the world buried within the sweet and juicy treats we call fruit. It is designed to look like a researcher's kit. It is presented as though it can be taken out into the wilderness, into the "field," for practical, analytical purposes. Its exterior is intentionally simple with only two latches on the front, a handle in between, a long piano hinge on the back for the lid to prop open, and a two-inch-wide insert on the bottom. Upon opening this wooden case, one finds its collapsible stand, a small five-pound scale, and a computer with a seven-inch screen. The case is designed so that when out in the field, one can remove the stand, expand it, and mount the case on top. This makes it an easy all-in-one device for fruticulture (the empirical study of fruit) in addition to being able to shed light on the world's more complex questions. To use the kit, simply place a piece of fruit on the scale, and one sentence answers will appear on the screen to the right.
Photos and video by Gaoyuan Pan

Fruit Study Field Kit

In daily life, the pop-up sign is typically used as a syntactic structure for an individual, business, or institution to communicate with passersby. It carries signifiers, or full sentences, making the physical object an identifiable syntax. By taking and attaching a photograph of the sign onto it, I disrupt its communicative role by drawing attention back to the syntactic structure itself. The "Sign Depicting Itself" is reflexive, perplexing, and reveals the breakdown in the very communicative mode it exists within.

Photographed by the artist

Sign Depicting Itself

In my piece "No Rules," viewers engage with a giant wooden ruler that cantilevers out from the wall in two separate locations. I draw attention to the arbitrary nature of measurement systems by re-creating a ruler that corresponds to no known unit of measure. One-half of "No Rules" presents numbers inverted while the other side seems completely normal—with the exception being its enlarged scale. Upon closer inspection, the numbers on each half do not align or connect as a ruler should. Viewers are confronted with their understanding and experience of rulers as a rational and logical tool, contrasted with my subversion of this function. By inflating the scale of a ruler, I destabilize its communicative capacity. "No Rules" ultimately draws attention back to its syntactic structure—i.e., the agreed upon distance of measurement, which—just like accepting the nature of inches or centimeters as a child must do in grade school—the viewer must accept the nature of my destabilized ruler on its own terms.

Photographed by the artist

No Rules

The Void in My Room is a 4 x 4 foot circular gradient comprised of marker dots along the back wall of my bedroom. From down the hall, it appears to be a blur floating in space. But as one steps into the room, a cloudy effect emerges and slowly morphs into individual dots when arriving at its face. Its center most 3 x 3 inch circle is filled in black which gradually radiates out until it blends in with the wall. When face to face with the abyss, one’s eyes continually bounce between the center and its faded edges. This all happening simultaneously while stepping back and forward again where it transposes between its blurred and refined forms. The experience of seeing The Void in My Room is a perceptual one. The photograph stands only as an artifact of its existence. The cold, formal nature of the void is presented in the personal space of a bedroom evoking a question about the relationship between the two.   

Photographed by the artist

The Void in My Room

And?

"Big Bummer" installed at Kemper art Museum for "Smoke, Signals, Space" exhibition. Photographs by Richard Sprengeler

Big Bummer

My Last Research Project

Oranges

I Thought So

Second Use Flourishes. Ceramic clay - Soldate. 2021

Second Use Flourishes was created to bring love and attention for finding a second use for items that you may not know has more potential.

When propped up, the sculpture stands as a mini stool and platform. You would not see it from looking at it, but when you flip it upside down, it acts as a vase. The flowers stemming from the vase represents the beauty and growth that comes from giving items a second life.

Second Use Flourishes

Jump in a Puddle. Ceramic clay - Clay b. 2021

Jump in a Puddle was designed and sculpted purely to bring engagement and entertainment between the viewer and the piece. With the ceramic ball, the viewer is able to play with the art work - something we were told many times not to touch. Just as much as we were told to avoid the puddles as kids. 

Jump in a Puddle

Second Use Flourishes. Ceramic clay - Soldate. 2021

Second Use Flourishes was created to bring love and attention for finding a second use for items that you may not know has more potential. 

When propped up, the sculpture stands as a mini stool and platform. You would not see it from looking at it, but when you flip it upside down, it acts as a vase. The flowers stemming from the vase represents the beauty and growth that comes from giving items a second life. 

Assortment of Pebbles. Ceramic clay - Soldate. 2021

The size and shapes of these pebbles are inspired by my desire to bring a bit of earth and nature into your home. Ceramics is a very earthy to home process as clay essentially is a concoction of earth elements like dirt, water and requires fire to be fired. 

The pebbles are my way of having fun with size that adds a charming and quaint banter to the larger sculptures and the environment it lives in. 

Pebbles 

On August 15, we presented at the What Happens at the Intersection of Conceptual Art & Teaching symposium. Over 39 artists, art educators and researchers participated in this Zoomposium  over a six-hour period. Each participant had a 10 minute time-slot. Our presentation focused on how our conceptual art practice impacts our teaching. 

What Happens at the Intersection of Conceptual Art & Teaching

A passionate graffiti artist has transformed this urban environment.

Straight up

In Basketball Backpack, Brian and Ryan are pitted against each other in a one-on-one basketball game.
This work was first performed at Track 16 for the Irrational Exhibit and again for Art in Odd Places in Los Angeles, CA.

Basketball Backpack

Bubble Boy Table Tennis is an athletic performance art piece.  During the performance, Brian and Ryan competed in a set of table tennis matches enclosed in a five meter inflatable bubble. The plastic enclosure served to separate the artists from the audience, and air currents interfered with the movement of the ping pong balls.

This work was first performed at the Museum of  Contemporary Art San Diego in 2010 and again for Irrational Exhibits in 2012.

Bubble Boy Table Tennis

In 2016, Brian and Ryan released 30 basketballs down a staircase located ion a small canyon. All but one ball was retrieved.

Balls Descending A Staircase

The Half-Pipe Intervention series is from Brian & Ryan residency at the an Diego Art Institute in 2016. The artists interacted with the half-pipe in a series of performances: Half-Pipe Basketball, Half_Pipe Ping Pong, and Half-Pipe Lawn Darts.

Half Pipe Intervention Series

ART5139-A-S2-2019/0 is a project that explored the subtle element of risk with in queer culture. At the start of lockdown in 2020 cruising spots appeared to become more active. The queer 3D worlds contain symbolism of a virus which are made out of popper bottles. this is a reference to covid-19 but also one to HIV. This comments on the ideals of risk within queer culture, more than the idea of disease and into the risk of being caught cruising or being queer. 

art5139-a-s2-2019/0

Heres a little series that is on going and dates back further. It's just some of what Ive experienced before and during whats going on in the pandemic currently. I included a sound piece of me riding my bike through my neighborhood.  I moved back to the town I grew up till the end of the month due to the epidemic. Closer to the city. You can hear the sound of birds and the loudness of the tires on my bike. 

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