Independent, underground Art + Design
RunningOutOfSpace™ is an independent, underground Art+Design studio
that showcases the Visual, Aural, Interactive, and Experimental creations of
MoMo, a Chicago-born, San Diego-based, American Interdisciplinary Avant-garde, also known as Mo Squared™ or Mo²®, which is the registered name of his umbrella LLC which officially does business as RunningOutOfSpace™.
A self-declared Selector, Collector, Tastemaker, Purveyor, MoMo thinks of himself as more of a music lover and artistic enthusiast exploring technology and formats before he welcomed Artist and Designer as a general profession. As essentially, the Creative Director and Chief Imagineer for Mo²®, he experiments in both abstract and concrete concepts for artistic creations with sound design accomplished through an interesting personal collection of electronic sound production/recording hardware and software and matches it with his third eye’s vision of suitable asthetics to match his compositions with a brand of digital artistry that not only includes modern technology, but raw camera imagery, hand illustration, printing, and paint modularity. His work emphasizes a specialty in championing a state-of-the-art approach to providing tangible goods in printed and interactive media forms. He also an experienced DJ who digs, trades, creates, collaborates, and curates on a global level, to provide some of the best selections and experiences made, and played around the world.He runs RunningOutOfSpace™ as an emerging independent imprint that provides quality with spontaneity through the following underground brands, labels, and series:
Visual(✶) : State of the [AR]T™ | △▼ ™ | Underdog Kitchen™| $₮¥£€™
Aural(✶) : Electronic-Music.Boutique™ | P.A.R.T.I.E.S.™ | [Not On Label]™ |
Baked FRESH™ | Only On WAX℗ | Infectious Grooves™
Interactive(✶) : ▼▲™ (Neutral Zone™ : Fantasy League™ | ▶•-▼▲™ )
[Fusion](✶) : ◢◣ ◢◣ ◢◣™ (✶✶✶✶™)
Fact: "Running Out Of Space" was originally the term used to describe the overcrowded organizational status of the very first studio that was built in 1999.
As we entered the third decade of the third millennium we too were wrapped-up in contemplating how to adapt our vision to survive in the future of a drastically changed world. Our world is extremely fragile and believe it or not, it was the realization that we do not know if the possibility of extinction is immanent that thrusted our concern over losing what's really at stake if we can no longer make our mark, the difference that reaches others through our work. Art is one of the very last tools left to rebel against a life of hopeless economic servitude. It is through continuous experiment, interaction, and independent and collaborative research and development, that we make influence on the greater network of creators driving the future.
The best question to exemplify our dilemma is: Many people love great music but only a few can see the beauty with their minds. Even the blind with which understand the language of music can analyze notation and digest compositions in paced and/or real time. The experience is mental-physical which nearly touch the soul in so many ways beyond just being a knowledgeable collector or enthusiast, it is the recollection of the experience that drives extrasensory perception of the way in which one note meets another in future, original creation and review of compositions. With information, the observer understands the composer more than the arranged composition and its the same for artistic aficionados who are enthusiastic about their passions for visual representations of artistic expression in great compositions in which the eye of the beholder drives reflection on their perspective of observing another's work. Lastly, it is the ingredients, skills, and vision of a great chef, that designs edible art that has to capture a taste, which is complex through texture and sensory satisfactory - next level experiences beyond aesthetics and materialisn.
We looked back at some of the good and bad of historically heralded authentic passions which were crafted by pioneering artisans and those that were revived as specialized interests failed to connect to the average person could not enjoy their greatness, simply because the necessity of tangible goods to be physically transported to a buyer's location involves a very expensive logistic undertaking that leaves most great things to being mired into hipsterish luxurious eccentricities. If only wealthy participants can partake in your art, how can you reach the people who cannot afford to support your vision?
What if technology can provide a platform for an accessible world where not only you can share your visions but others can experience it?
If you've made it this far you are living. We, as a species, have all endured the toils of labor to produce the means to survive. On one front, this is necessity, on the other is a battle against the efforts to suppress our ambitions to prosper independently. Maybe not 100% independently because we cannot do everything ourselves. Machines help but the possibility of a population and cultural Recession is now upon us. Look within any decade and see that we, as a species, were constantly driven by historic challenges and sometimes brief or extended periods of turmoil. Within our greater, extended networks is delicate "microcosm" that is more endangered by antisocial plagues that make us fight for survival. We have to continue working harder to bring people together - more than those who scheme to divide us.
As an Artist, I guess Life as we know it means many different things to everyone who understands the gift of consciousness: your awareness, as in "I-AM" existence is always challenged by the pressure to yield to system of economic servitude. Not all of us have the ability to secure our opportunities. Our sense of purpose is not just to obtain what is an ideal life but to sustain our opportunities so that we feel alive through exploring what is possible as we steal time to create despite whatever challenges we face.
"By any means necessary" is not a perfect motto but if you can do it legally, obtain and use whatever you can afford to do whatever makes you feel completely there in the present moment.
"Now" is always the moment where the edge of Time trims back the Past and cuts continuously into the Future. I'm at a point where I have re-evaluated my many "passion projects" which have defined my artistic ability over the past few decades. As artists, it is only rightly so that most of work falls into the category of "non-essential". For those of us who are lucky enough to stay alive throughout the unknown duration of these difficult times, we will have to adapt our visions to maintain a level of creativity that is more conscious of our global impact. Our shared situation is not completely open to waste anymore. Our most conscious effort to preserve the art is a focused on the importance of right-sizing or scaling production for maximum impact but rather, whatever we're doing will have to seek newways to reach others.