Where are we headed? How will it be different? What will be forgotten? While referencing mankind’s oldest and most permanent form of representation—the petroglyph—Kevin Sudeith explores the uncertain present and unwritten future of contemporary life. His rock carvings could survive tens of thousand of years; as many of their ancient predecessors already have. In this way, the works become defined by an almost extraterrestrial, futuristic wonder. They exist as both art and artifact—as an articulation of our world today and as a point of communication with the unknown of infinite tomorrows.
I camp, but how I camp depends on the location. Originally, I camped in a tent with Persian rugs scattered around and cooked over an open fire. I quickly learned that lifestyle takes a lot of time—roughly three hours per day—so the “housework” was cutting into work too much. So now I enjoy a more Spartan lifestyle. Whenever possible, I pitch a tent. It’s nice to get out of the van; I love the sounds of the outdoors and it’s very “exciting” for an electrical storm to pass while I’m in a two-person tent. Sometimes, necessity keeps me camping in the van. And I like that too. It is cozy, but the van shakes in a strong wind.
Born from a desire to make the creative realms of artists as accessible as their works, Gates of the Westis a collaborative, multimedia platform curating the artist’s virtual space. With photographs, videos, critical texts, and transcribed conversations, Gates of the West brings us inside the creative lives of contemporary visual artists. We find exclusive selections of their artwork alongside inclusive looks into their personal and studio process. We invite you to keep up with us on Instagram, Facebook, Twitter, andPinterest. Don't hesitate to contact us at email@example.com.