What "Walker" and August Experiments Have Revealed

I am not sure where to go next, how an artist is "supposed" to work (and I do get hung up on that "supposed"), and I am confused right now.

"Walker" has shown me though a couple of things that I can't ignore.  

First, the figure has returned to my work while my installations are about The Body more than ever before.  I get how they relate, but I don't see how they can look more natural together, and what that looks like.  I don't think me drawing more anatomy is even close to the solution; it is as if in order for me to resolve the figure, I need to not think about the figure.  I mean, drawing this comic for Eric Holmes was wonderful, but it really, ultimately, has nothing to do with my art or how I make art.

Second, what form will my installations take later?  "Walker" also has made apparent that I may start using different media.  I used to really dislike multi-media installations, in fact, I think I mostly still do!  The audio in "Walker" is important.  It helped me wrap language into the project in a very useful way, and might be of great help with my long and growing list of words I'm keeping in my journals and records (kerrywessell.blogspot.com).  Audio is god speaking to you, audio can't be ignored if it is right in front of you, audio is the mentor advising you, it is your superior.  Performance is clearly important and after doing so much video editing for my application to Sculpture Space and making pieces that were supposed to be videos (read: NOT documentation of a piece, but a video in its own artistic right).  

These video works were done in August, as an experiment.  I sort of decided faces were important after I did the bust of Nils Y. Wessell.  I liked the result, but it wasn't enough, it didn't make sense and I didn't know where to go from there.  But then I looked at the rubber mother mold, and I took one more step.  Speaking from the perspective of a process, the face wasn't nearly as important as the mother mold, which here on in, I'll refer to as a mask.  Masks are a face over a face, they hide the face, they allow people to take on different roles, masks force people into roles.

It is a more metaphorical version of a ramp, of a corridor.  Nonetheless, a mask sets a path, it sets expectations.