Artist statement by Mad Lib

Artist statements tend to consist of carefully calibrated, inscrutable nonsense. So it might as well be done by Mad Lib, or, by the non-trademarked alternative, Wacky Fill-Ins.

I invite you to help create John K. Ford's artist statement. John K. Ford is a fictional artist, a painter. A very good one, actually. But you won't be able to tell that from his artist statement.

Just as easily, John K. Ford could be a complete charlatan who couldn't do a basic painting exercise if his life depended on it. Or, perhaps more likely, John K. Ford is a competent, decent painter.

Often, the only thing you can tell from an artist statement is whether or not the artist knows how to write. Unless maybe the artist paid someone to write his artist statement, or took a template and filled it in.

Go ahead and fill in the words or phrases in the following form. Once you have filled in all the form fields, the "Transcribe fill-ins and present text" button at the bottom should become enabled. Click it and read the resulting artist statement.

Hopefully you will be amused and confused. Much the same as a regular artist statement.

John K. Ford is a highly respected visual artist, always mindful of counter-epistemology, specializing in verb, past tense noun paintings. His dream-like process involves recontextualizing adjective paradigms viewed very carefully with noun, abstract through the filter of another verb, past tense historical era norms. By questioning the boundaries of breakfast food to shift perceptions of the sports team as child-like theater while maintaining a skeptical stance towards dog breed, plural in the indeterminate space between connotation and denotation, John K. Ford pulls off an enigmatically another adjective transformation of modularized cereal brand culture that resonates with realigned modes of another abstract noun and the destabilization of the reality principle. These are elided with powerful acts of estrangement that simultaneously unsettle and comfort.

John K. Ford is also very interested in problematizing many artificial constructs of type of shoe, plural in their liminal space, while simultaneously re-energizing a continually deferred relationship. Thus, the traditional motor vehicle is both subverted and restored. Narratives of aporia, fish, plural, identity, mortality, loss and love are intertwined in a dialogical relationship interrogating various math term, plural in a complex dance step of semiotics, as well as negotiating the dialectic between conflicting discourses of article of clothing, plural in societal constructs and the color cusp of post-capitalist consumer politics which interrogate the assumptions of the American dream and highlight the conflicts inherent in postmodern urbanism.

In 2015, John K. Ford was artist-in-residence at the prestigious type of container, capitalized Gallery in fictional place. This experience awakened in him an awareness of how ethnography is embedded in place in a way that his homogenized Seattle birthplace could not, collapsing implied partititions between performative awareness, art and documentation.

John K. Ford's work is in numerous public and private collections, most notably the Metropolitan small town Museum of noun, capitalized.