Our long term objective is to assist, provide resources and represent the interests of provocative artists that have an unusually strong ambition to utilize knowledge, emotions and artistic inspiration gained through interethnic experience to develop their works of art.
The Intarsia Interethnic Arts Project is in phase three of development. During this time we will engage in design, textual publishing, recording, production, live performance as well as IT projects that exemplify aspects of what we understand as Interethnic Art (more below). While in phase two, our strategy was to accumulate enough technical know-how and organizational infrastructure through various streams. Phase one encompassed creation and conception of basic Interethnic Art projects, all of which can be seen here at our site. Any profits acquired during phase three onward will be reallocated from Intarsia Recordings, Media and Productions Co. where possible to fund the development of the educational/non-profit component of the Intarsia Vision (read below), this Intarsia Interethnic Arts Project . This 11 year running project is now only considered to be in it's adolescence. We continue to engineer the same synergistic structuring and flow of ideas, resources and networking capacity; intended to assist individuals that have one common ambition: to collaborate on an artistic and intellectual bases regarding the philosophies documented in the Intarsia Vision and disseminate the concepts, techniques and value of interethnic art to peoples world wide.
Where did this idea and energy originate?
Growing up, I was inspired by movies such as Dances With Wolves, my parents respect and interest in Native American culture, as well as their primary trait activities in the art of woodwork. And then about 10 years ago, what has become the Intarsia Vision (below) sprouted as a philosophical question: "What is out there that we disregard in our culture of routineism, regardless of our upbringing there is a culture of routineism surrounding us wherever we are in the world, and also something outside of it, but what is it like, what are it's limits and process?" 9 years ago, I, the same person who deeply pondered that question made a major attempt to journey outside of this routineism, with a natural and feasible first step: by trying to learn a another language while living abroad; with the concrete goal of learning to the degree of temporarily forgetting elements of my mother tongue/starting to unconsciously think in the language and encountering vividly things that could not be said exactly the same way in both languages. I believed and still do that in such spaces there is inspiration to make new kinds of art that will eventually help bring about fundamentally new socio-economic values. To get started, I moved to Japan and succeeded in my first effort, and this exercise compelled me to take further steps. I started doing some art, but felt it was basic and lacking specific technique, I needed a strategy. After "getting over" the seemingly new privileged understandings this individual curiosity allowed some access to, my feelings quickly morphed into a willingness and eagerness to share this enthusiasm with artists and together develop precise techniques, standards and criterion for should be regarded as interethnic art process. As a second step, I have started the search for like minded individuals. Coinciding, 3 years ago I choose to move to a country and learn a third language and culture I was not personally attracted too, as a form of disciplining and objectifying for the iterative process in achieving excellent skills and technique for the interethnic arts.
By officially starting the search for like minded individuals here in Beijing, China I have great opportunity and challenges. I have continued to complete personal, as well as a few initial and exemplary group projects related to the founding of Intarsia Interethnic Arts. These backbone exemplary "arts processes" are works that demonstrate the Intarsia ambition, standard and ongoing search for specification as well as indicators of what constitutes interethnic art. Because one long-term hope is to inspire audiences to assess interethnically. For example, instead of evaluating one of our videos by how many views, likes, or comments it got, getting audiences to only evaluate how was harnessed to do other kinds of interethnic art. In the long term, if we can assemble electronic technology that can track this, it will be considerable but not mandatory (we believe in natural observation and mimicry processes, as determined by anthropologists and ethnologists to have considerable physiological improvements (close proximity with nature). I have taken sturdy steps in understanding concepts of possible integration of post-modern IT and with non-material culture cultivation (note: not preservation). Including the entire development and management of this site. And today, after 15 countries of travel, fieldwork and a decade of research, and an explosive learning curve growth I am more confident in the inherent benefits of interethnic art and other interethnic undertakings. I am now learning a total of seven languages: Russian, Vietnamese, Thai, Uighur, Mandarin, Japanese, English and more than a dozen instruments which all help in implementing Intarsia Interethnic Art exemplary projects. My individual work and ideas are now just starting to be united with others. I sincerely hope to share with you a organizational/philosophical/artistic and peaceful mission based on a creative vision, the Intarsia Vision (below). (Documentary Video Coming Soon: Release Date To Be Determined)
