- Are we in a Panopticon?
The Panopticon is a type of institutional building and a system of control designed by the English philosopher and social theorist Jeremy Bentham in the 18th century. The Panopticon could also be an analogy for power, economic and technological surveillance—the very few bear a constant, watchful eye on every movement of the many.
- Mystic Island
Centre of Altered & LSD Dream & Good Vibration by Reza Hasni
Reza Hasni’s works are a contemporary reflection of our world and its unseen energies. Patterns of sacred geometry make up core compositions, along with a mashup of 90’s Internet pop, club culture and Asian spiritualism. His illustration and motion graphics practice feeds into collaborations in music, installations, augmented reality and fashion around Europe and Asia. These additional mediums add layers of interactivity to his work, allowing immersive experiences for audiences in the virtual and physical.
His net art project:
soooooo freaking cool, please check it out to enter this virtual realm of fantasy, cartoonish mysticism constructed by vivid colour,
- Bring Every Nuance to Fidelity
Papamargariti creates an artificial landscape made of Adobe Stock’s organic 3D objects.
JB Dunckel – Love Machine
Video by Eva Papamargariti
Song by Acid Baby Jesus
Recorded & mixed by Nikos Lavdas
“The digit is both the number and the finger.”
“Spineless and Sublime”
2021, HD video, color, sound, 4’40”
created by Eva Papamargariti
- /mood!/ Vol.03
~ a visual expression by digital creation ~
- Jungian Archetypes
Carl Gustav Jung (1875 –1961), was a Swiss psychiatrist and psychoanalyst.
Two Abstract Expressionists, Jackson Pollock and Mark Rothko, displayed a significant amount of
influence from Jungian psychology in their works, which leads me to study further on his psychology theories.
“Jung agreed with Freud that a person’s past and childhood experiences determined future behavior, he also believed that we are shaped by our future (aspirations) too.
Outlining an important feature of the personal unconscious called complexes. A complex is a collection of thoughts, feelings, attitudes, and memories that focus on a single concept.
The collective unconscious is a universal version of the personal unconscious, holding mental patterns, or memory traces, which are shared with other members of human species (Jung, 1928). These ancestral memories, which Jung called archetypes, are represented by universal themes in various cultures, as expressed through literature, art, and dreams. these archetypes that symbolize basic human motivations, values, and personalities. Rather than being seen as purely biological, more recent research suggests that archetypes emerge directly from our experiences and are reflections of linguistic or cultural characteristics (Young-Eisendrath, 1995). Are his ideologies the mystical and pseudoscientific? and therefore often studied more as a historical artifact and in realms of literary criticism and popular culture applications of mythology than as a major contribution to the science of the mind and behavior.
He was the first to distinguish the two major attitudes or orientations of personality :
8 PERSONALITY TYPES
“Archetypes could be summed up as a predisposition that is present in humans of every race and era.” This is what I am interested in and far more agreeable than Freud theories. I believe human existence and reasoning are based on vital energy rather than libido.
Collective unconscious is synchronised from a cloud-like shared knowledge-base from the moment we are born. Does this mean we are in fact in a stimulated reality? like a character in a video game, which the same original codes shared with other character?
Jung labeled these archetypes
the Self / individuation
the Persona / mask
the Shadow / weaknesses and shortcomings
the Anima/Animus / gender identities
Bird is often interpreted as Pollock’s desire to complete the process of
Pollock became closely acquainted with Jungian analytical psychology when he attended therapy sessions with psychotherapist, providing them a lot of drawings and painting, one of his docters Henderson wrote that Pollock was “portraying the unconscious in these drawings.”
Jung’s Collective consciousness is a possible answer of how we can interpret art and images in a similar way despite the cultural differences. Pollock claimed that Native American and Mexican influence in his art came from his own unconscious. While there is a lot of indigenous rituals that may include hallucinating, and I think this may be a part of uploading and syncing with the collective cloud, and somehow Pollock had received those primitive mythical images.
Rothko gained a “respect for the basic tenet of surrealism that artists should work in an
unguarded or ‘automatic’ way, fueled by the fresh, undiluted juices roiling in their
unconscious minds.” Anna C. Chave. Rothko to express human emotions and feelings through the “universal mythic unconscious” in which he looked inward in “portraits”
“the artist’s real model is an ideal which embraces all of human drama
rather than the appearance of a particular individual. Today the artist is no longer constrained by the limitation that all of man’s experience is expressed by his outward appearance. Freed from the need of describing a particular person, the possibilities are endless. The whole of man’s
experience becomes his model, and in that sense it can be said that all of
art is a portrait of an idea.” —— Rothko and Gottlieb, “The Portrait and the Modern Artist”
What does it mean? —— to do art.
rather than what is this about?
- In contact of the hands
- Forms can carry meaning independently in subject matter
- Depiction of the unconsciousness / human core
- Aesthetic pleasure
- Freedom of expression
Unveiling the Unconscious: The Influence of Jungian Psychology
on Jackson Pollock and Mark Rothko
by Amy Elizabeth Sedivi
- Grid in paintings & space – Prina & Krauss
“In 1988, Prina initiated an ongoing project titled Exquisite Corpse: The
Complete Paintings of Manet, in which an offset lithograph representing a visual
index of Édouard Manet’s corpus of 556 works (arranged to scale in a grid of
“blanks” based on the contour and dimensions of each painting or drawing) was
exhibited next to a sequence of monochrome sepia ink drawings made by Prina to
the exact size and format of corresponding works in Manet’s oeuvre.” —— D Joselit
Rosalind Krauss: “Grids” October 9, Summer 1979. [Reprinted in: The Originality of the Avant-Garde and Other Modernist Myths.
GRID: “In the spatial sense, the grid states the autonomy of the realm of art. Flattened, geometricized, ordered, it is antinatural, antimimetic, antireal. It is what art looks like when it turns its back to nature. In the flatness that results from its coordinates, the grid is the means of crowding out the dimensions of the real and replacing them with the lateral result not of imitation, but of aesthetic decree. Insofar as its order is that of pure relationship, the grid is a way of abrogating the claims of natural objects to have an order particular to themselves; the relationships in the aesthetic field are shown by the grid to be in a world apart and, with respect to natural objects, to be both prior and final.” …
“The grid’s mythic power is that it makes us able to think we are dealing with materialism (or sometimes science, or logic) while at the same time it provides us with a release into belief (or illusion, or fiction).”
In this Prina Monochrome painting, he spray paint over the same dimension of the painting of the renown artists that did monochromatic painting masterpiece from the twentieth century, such as Kasimir Malevich, Alexander Rodtschenko, Władysław Strzemiński, Barnett Newman, Robert Rauschenberg, Ellsworth Kelly, Yves Klein, Piero Manzoni, Ad Reinhardt, Lucio fontana, Brice Marden, Robert Ryman, Gerhard Richter, and Blinky Palermo.
The works were spray-painted monochromatic green at an auto body shop using conventional metallic car paint on wood (the paint, papyrus green poly, was used by volkswagen in 1985).
“…the bottom line of the grid is a naked and determined materialism. But (. . .) that is not the way that artists have ever discussed it. (. . .) Mondrian and Malevich are not discussing canvas or pigment or graphite or any other form of matter. They are talking about Being or Mind or Spirit.”Rosalind Krauss
David Joselit. Painting Beside Itself
Noel W Anderson (b. Louisville, KY)
utilizes print-media and arts-based-research to explore philosophical inquiry methodologies. He primarily focuses on the mediation of socially constructed images on identity formation as it relates to black masculinity and celebrity.
The use of cotton and its attendant vocabulary once woven is an intricate exchange with American history. The grain of images, the “nap of the weave,” the wavering borders suggest the margin creeps into the frame. Collapse is irresistible. Loose threads and the natural warp of the material represent a glitch that invites viewers to revisit their memories and notions. The Jacquard weave recalls analog while accompanying sound and video further develop the artist’s dialogue with how technological developments have changed our seeing. The digital artifact doesn’t glitch or slip. This trains a contemporary eye to trust the given image. The simultaneous familiarity and distortion of these ground images welcome viewers, while forcing them to physically shift in order to register the tapestries’ meanings. This is an exercise in perspective alteration.NOEL W ANDERSON
Digital image manipulation and exploration of materiality
distorting pieces of memories of history, social context and identity.
By seeing the description of how each piece included the word ‘distressed’, this word can mean the act and emotion. The materiality of cotton also serves another historical connotation, the act of distressing is a physical expression, through the touch of the artist, that shows the internal stance of rebellion to the system.
Also The Jacquard Weaving technology is the first model of codes, and computer engining. The artist is examining the relationship between digital analog and perception.
- Group Material
Thomas Eggerer, a former member of the New York-based collective Group Material
: formed in the 80’s and basically was initiative governed by the idea of collaboration on projects dedicated to social communication and political change. Often they used artifacts such as magazine ads, and other found objects from popular culture with recognized art objects, in order to create an ambitious mix.
Particular drawn to his colour scheme, muted, nostalgic, reminds me of 90’s film, majority of monochromatic and lot of grey tones, often relaxed and calming. During his 2015, his works are named after the dominant colour of the paintings, Eggerer has also cited Philip Guston—who used pink because it was the “wrong” color—as an influence on his colour palette.
The figuration of the paintings, are mostly people figures in a landscape or architecture setting, facial features are blur and vacant, creating a sense of human existence. The effect of deliberate imprecision makes the narratives archetypal and exactly that kind of subtle agenda transforms the works of Thomas Eggerer into something socially and politically charged.
- day trip
- Atmospheric whirls
Julie Mehretu’s works spring from an interest in systems and serve as a direct response to political issues such as war, diaspora and social protest.
“She creates an expression that fuses chaos and order in a structured pattern with loose, abstract gestures. She describes her works as ‘a complex drawn language of marks that behave, battle, migrate and civilize’.
Not only that paints are means of colour or emotion, drawings are also a form of a free expression “led by instinct and intuition,” saying by Mehretu, “it opened up a way for me to create work.” The works consisted of drawing with with ink and technical pens, the tools used for map making and architectural drawing. Similar to another artist Sarah Sze, who also use the idea of space in chaotic but systematic, fragmented, yet forming relationship from one to another.
“aerial maps of cities”, and “story maps of no location”, these artworks led to a conceptual way of thinking for Mehretu as she began to liken her process of drawing, layering and moving around to the shifting meta-structures that order our civilisations, considering their implications on the societies that live in them.
contemporary urban experience
abstract forces of motion
- The use of colour — Katharina Grosse
A painting is simply a screen between the producer and the spectator where both can look at the thought processes residing on the screen from different angles and points in time. It enables me to look at the residue of my thinking.
AMc: Colour is clearly fundamental to your work. How do you go about giving it form, or does it find it itself? Or is the form simply in the mode in which the colour exists – as pigment, as a fluid mixture, as spray paint, as a surface applied on top of another surface?
KG: The way I understand and use colour, it does not generate fixed meanings, and it does not serve specific functions or hierarchies. I want to infuse energy and transformation into a situation or space, so as to trigger alternatives to our habitual responses.
Grosse is celebrated internationally for her works of immense scale and kaleidoscopic colour which create sublime and otherworldly environments. Painting directly onto existing architecture, interiors and landscapes, she incorporates reams of fabric, mounds of earth and slabs of concrete.
HER IMMENSE INSTALLATIONS … EXAMINE HOW PAINTING FUNCTIONS IN AN EXPANDED FIELD
Grosse finds colour as the significant part of her practice, so do i. Therefore, it’s important to let go the thoughts of adding figuration or representation in the form of colour, if I want to explore just how colour affects mood, reflects personalities, and gestural process. For this instance, exploring materiality in different colour exploration, break the traditional of using paper/canvas or traditional surfaces, how about colour in dirt, colouring plants, colouring recycled objects, colouring shells and what not.
emma x zhang, 2021
– 600 x 600 pixel
– Generative mouse painting
illustration by Adrian Sayago
@sayagoadrian | sayagoadrian.com
- Moving Times
Some Q&A of Why ABSTRACTION?
“Investigation of time and the way we perceive and experience time.”
“Instantaneous time but mechanistic of memories.”
In making abstraction organisation over emotion or emotion over organisation?
“I try to create composites that have both an organised sense of reality but also don’t negate sensibility or sensation, not about self-expression, or expressionism, but it’s more like the way as an individual i deal with material and that can be evocative of a poetic space and time.”
“An illusion, monochrome both as a surface, colour sensation, an atmosphere, as a void, and that cycle of association that I find useful about it.”
Spirit resonance – Chinese painting.
“It’s not about illustrating a state beyond, but a sense of recognising energy. “
“Abstraction is a type of art that turns oneself back into oneself it helps us explore the interior world of feeling and of thinking.”
“…acknowledges the actuality of materiality in the actuality and authenticity of our experiencing the world, not simply about image, we are in a society where everything is an image. What i like about the role of painting both constructed object as well as a felt and thought of art construct so it’s got a multiple range of layers of reading and meaning… complexity to their work
- Blue Period
Blue Period (Período Azul)
emma x zhang, 2021
– 600 x 600 pixel
– Generative mouse painting
emma x zhang, 2021
– 600 x 600 pixel
– Generative mouse drawing/painting
- From Point, From Line.
Lee Ufan is recognized for his unconventional artistic processes which underscore the relationship between the viewer, the artwork, and the spaces they inhabit and for philosophical writings that challenge prevailing notions of artmaking with attention on spatial and temporal conditions.”
As one of the foremost figures in breaking conventions as a painter, sculptor and philosopher in Korea, Japan and Europe, Lee marked his status as one of the leading advocates of Japanese avant-garde antiformalist ‘Mono-ha’ and the Monochrome movement (Dansaekhwa) of Korea in the 1960s-80s by effectively banishing imagery and materialization and instead opting for reductive elements that echo the Eastern philosophical paradigm of Taoism. –––– christies.com
Lee In 2006, Lee Ufan, the leader of following movements:
- Mono-ha(School of Things) has similarity of Materialism and Art Povera – attempts to bring art closer to life with the common language common people recognise. 物派关注物体和空间的关系
- Dansaekhwa (Monochrome painting in Korean) refers to a loose grouping of painting practice that emerged in Korea starting in the 1960s that also explored materiality.
“Tension and sensation, presence and absence, the essential binaries of Lee’s art, are expressed in their stunning totality in the present work. The focus of Lee’s practice is inextricably bound to these dualities, as equal importance is placed on the artist’s marks and on the areas of quiet pause that emerge between them.”
“A work of art is a site where places of making and not making, painting and not painting, are linked so that they reverberate with one another.”
“Cobalt blue powdered mineral pigment (or orange powdered mineral pigment) is dissolved in glue, or sometimes in oil, and left for a while until the color stabilizes. Before working, I calm my breathing, correct my posture, and hold my brush quietly.”
“我既不是日本人，也不是西方人，不属于传统， 也不属于西方的当代；既不可能成为一个西方艺术家， 也不想做一个纯粹的东方艺术家。”
From Point (1974)
In 1967, he published the book of The Aesthetics of Self-Contradiction
“From Point and From Line series, which concluded in 1984. Exhibiting a distilled visual language based on an amalgamation of Eastern and Western aesthetics and philosophy, these works emphasize system, structure, and process through fields of dots or lines to create tension between his gestures and the picture plane, while marking the passage of time.”
- Alexandra Levasseur
“Alexandra Levasseur, in Montreal. Known for her work, that combines colored pencils on paper and experimentation with oil on wood panels. Levasseur continues her exploration of female figures in surreal and vivid landscapes, with the need to examine the relationship of the human beings with nature. ” (Widewall)
“This time, Levasseur speaks about her exhibition Puzzle as representing a mind game, which questions the origin of life and usefulness and destiny of human intelligence.” This Puzzle idea can be expand into my upcoming presentation format for the tile system of abstracted and dynamic works. Each line-work and shapes can be pre-planned and re-assemble to create other alternatives, to reveal the order and disorderness of the art, and similarly consisting Levasseur’s idea of the mind game, re-interpreting different rearrangement and interactive act of the work.” -+- I like this concept to push in my work as it opens mystery in representational / portraiture paintings.
+ Levasseeur uses fabric patterns and female figures to show a sense of domestic setting, yet abstract in a way that is flatten with painterly paint, vacant juxtaposition, blurring the pictorial plane, and definite of space, which reflects an internal mental state or dreamy state… I really like the way she incorporates colour that seems pearl-like and iridescent to depict skin tone.
- Collecting fragments
“My practice revolves around wandering; collecting fragments and using my camera to sample compositions within the everyday environment. I frequently employ mediated processes such as printing and casting, and I welcome the inescapable interference of chance variation within these systems of creation. The resulting works exist ambiguously as faux relics which refer to both the formal language of abstraction and to the legacy of the readymade through their found painterly compositions.”
Howard’s works imitate the everyday surfaces.
Using printing, and image transferring technique to mirror on another surface, at the same time, allowing these imperfection; traces of the hand-made; torn and adapting textures of time, fading of some parts; glimmering light spots…
A form of memories as thoughts.
- Order of the urban detritus
“Elizabeth Gower creates stunning abstract compositions from humble materials, with an emphasis upon translucency, fragility and impermanence. Her practice draws much of its content and form from the world of the everyday – commercial images and objects as well as familiar and domestic materials such as newspaper and tissue paper. Exploiting the associations evoked by such banal material, her work has often been connected with a feminist sensibility; however this framing should be countered with recognition of the strong aesthetic concerns at play.” (from: Sutton Gallery)
I think her idealism relates a lot to the critical framework that I just discover: Realism / Nouveau Realisme, identified a tendency or a desire for artists to “Attempt to bring art closer to life through material means.”. Similarly to Hannah Hoch, Richard Hamilton, Robert Rauschenberg and Los Angeles artist Mark Bradford, using collage, assemblage, photographic imagery like photomontage and silk-screen juxtapositions to reproduce found images, expressing social commentaries. In Gower’s works I see rigid and orderly pattern that are not representational, yet putting emphasis to the commercial information, such as the price tags; the advertising typography, glossy surface in rotation of the information carefully selected to create repetition, revealing the concerns of consumerism and capitalism.
I particularly draw to this installation work, as it shows the fragility of the materiality, yet creatively free as a vessel for other possibilities. The see-through translucency of the thin paper; the patterns and multi-colours created beneath the surfaces; the scale and the vertical hanging format, contributing to the experience of walking; looking up; surrounding these curtain-like draping.
This idea of presentation triggers a lot into my direction of pushing the digital collages works — the ‘Printmagram’, I began this experimentation to look into motion and abstraction in 2020, when I program digital images into the print machine, and paint on the surface with gestural motion, calling the result “printmagrams”.
- Humbler Bernard Frize
Ridiculous, useless, powerless, derisory and absurd
Bernard Frize, French artist has invented the cheering, pastel yet orderly colour of non-representative work, lifting me to see the pure work of his processes, experimentations, and the urge to make art without expressing or sending messages of any kind.
At this stage, I see myself finding interests in the less form of expressive figuration, and moving into the realm of viewing and making, and finding the joys in the process of making.
“First of all, by being less ambitious, not thinking that I would change the world, which I did not understand, and that my action would be more limited. Before being political, a work of art has to be a work of art. It’s more that this piece of art has to be in conformity with your thoughts, so I found a way that was much humbler and that I could be satisfied with.”
“Nobody is interested in my ego, so I don’t think a painting has to do with that. I’m not at all an expressionist; I always thought that expressionism was staged, so I don’t feel I have to provide this.”
“The subject of my work is not to create processes and rules – they are just ways of doing my work or fueling my desire to work… Painting is a way of exploring ideas and embodying them, so that they can be seen and shared.”Bernard Frize
- The Moiré Effect
The art of Carlos Cruz-Diez.
expanding research from kinetic artist Jesus Rafael Soto.
- AI Paintbrushes
emma x zhang, 2020
– 12CM x 12CM x 11CM – Paper Clay, CD, Resin, Watercolour, LED Circuit Board, USB
- RGB Mode
Tabor Robak. Robak uses programs like Photoshop, After Effects and Unity3D to create densely rendered digital worlds that riff on everyday objects. He’s currently exploring illustrations on transparent screens in the second edition of his work Newborn Baby.
Art in the Age of Anxiety conjures the bombardment of information, misinformation, emotion, deception and secrecy that invades online and offline life in the age of digital technology. It aims to illuminate the ‘post-digital’ condition—the manners and behaviours found in a world altered by the rise of digital technologies—and posits speculations for our future.
- All that good stuffs
Jesús Rafael Soto (June 5, 1923 – January 17, 2005) was a Venezuelan op and kinetic artist, a sculptor and a painter.
“I began to construct a world, telling myself that I must make use of all the elements they had set forth, but whose implications they had not fully explored”.
- Quiet Place
Artist and designer from Buffalo, New York.
+ formalism in digital art, a quiet pure electric place that i could enjoy without the stress of interpreting into
♪ ♫ ♬ DATAVERSE DEEPLEARNING
- Shadow of a Daydream
Adrian Ghenie weaves together personal and collective memories and fears to address the traumas of 20th-century European history. Recalling the textural richness of Northern European Renaissance painting, Ghenie depicts figurative imagery in contrasting states of clarity, fluidity, and decay, dripping and pouring paint, scraping surfaces, and deploying strong chiaroscuro. Ghenie is interested in those associated with genocide and mass suffering or revolutionary discoveries, but the main criteria would be, to put it simply, people who were both very influential but at the same time famous for their troubled minds.
“Every painting is abstract, I don’t believe in figurative. As soon as it starts to imitate, to depict something, then a painting is dead. This is the moment when you kill painting.”
“But when you try to paint a tree, you realize, ‘I cannot paint all the leaves, I cannot paint all the textures.’ So you have to invent a movement of the brush that would suggest, in your mind, a tree. That is, essentially, abstract.”
“I want a deconstruction of the portrait. In the 20th century, the people who did it really radically were Picasso and Bacon. They took elements of the face and rearranged it. There is no nose, there is no mouth, there is no eye—no sense of anatomy.”
“The portrait,” he continued, “was a landscape, basically.”
Grotesque is often linked with satire and tragicomedy. It is an effective artistic means to convey grief and pain to the audience, and for this has been labeled by Thomas Mann as the “genuine antibourgeois style”. The grotesque has staying power because our life as beings of flesh and blood has not changed, and so long as we have bodies, we can experience body horror. an ugly malformed part of the imagination. The grotesque in modern art was heightened by the real-life horrors of the first world war. It is at the heart of dada and surrealism.
+ i think Ghenie’s alienated painterly expression is arbitrary, studies of his influences of artists and historical context, reinterpreting the wide amplitude of various states of mind, through the progress of working from a visceral sense, we can immerse in ways that he immerses himself of creating a pure art for art sake in form of the visual journey.
- Same Same but Different
Series: Untitled, 2006.
Epson UltraChrome inkjet on linen, 89 × 54 in. (226.1 × 137.2 cm). © Wade Guyton
Wade Guyton, New York–based artist (b. 1972) has pioneered a groundbreaking body of work that explores our changing relationships to images and artworks through the use of common digital technologies, such as the desktop computer, scanner, and inkjet printer. Guyton’s purposeful misuse of these tools to make paintings and drawings results in beautiful accidents that relate to daily lives now punctuated by misprinted photos and blurred images on our phone and computer screens.
+ what is the line between a painting & printed images? his printer paintings speak purely of the machines, machines are supposed to make the identical, the reproductions , but each is different as it has its own unique painterly errors, whether its intentional or off-alignment during the process. this really inspires me of blurring boundaries between genres of design + art
+ lets talk about the typeface!! im so familiar with different typefaces as each delivers an unique personality, function and nuance. he is using Microsoft BLAIR ITC MEDIUM, designed by The International Typeface Corporation, In the late 1960s the company was one of the world’s first type foundries to come out of the photo universe and not the metal type one. ITC represents more than 1,650 typeface design… to describe this type the artist chose: maybe its license-free, a well designed san-serif modern but still carries a nostalgic curve that look quite masculine.
the ” X ” he chose as the subject / ‘figuration’ in his works is ideal because it lends an almost human form to the piece, like a body with limbs…
In our world, the way we think and learn is through language. That’s how we organise our thoughts and give meaning to things. By removing a single letter from its context, this painting gives us an opportunity to question our associations.
possible associations of culture codes:
- Kiss; (two lips “crossing over”)
- Generation X ;
- x-axis = The horizontal axis;
- Crossing, errors and Don’t;
- In algebra to mean a variable + unknown constant;
- Ecstasy, a particular street drug;
- Forbidden +18 things;
- Ten in Roman numeral
+ it aligns with in ways i use my ‘x’ in my own branding and name! firstly its my initial, other than the symmetric look — power of the character lies in the method by which it is drawn — it crosses space, it marks time, it defines confluence, things come together, intersect then depart, it flattens the dimensional and it creates visionary form where the imagination strikes.
- Nature, Dynamic, Fragmented
Konrad Wyrebek, UK. The artist paints mostly in oil and acrylic. He usually always starts with the images he finds online. The resulting work of art interrogates the medium on different levels. From a formalist perspective, Wyrebek references the Neoplasticism of Mondrian and the Cubism of Picasso by exploring the fourth dimension in art seen in a contemporary context as the post-internet realm and the abstract potential of electronic images. However, by introducing the synthetic use of machines in his process and leaving the viewer to question the hand of the artist, Wyrebek challenges the boundaries of painting by raising important questions about the artist’s originality and the role of technology in contemporary art.
Process: Each image is pixelated through a succession of digital compressions with deliberate settings causing corruption of data in transfer between different softwares and devices.
Transformation interests me – how people or things can change, but particularly how we can make them change from our viewpoint. As I spend time with the found image, new thoughts and possibilities are evoked and I experiment with potential additions, deformations and changes that will become part of a transformed image.
+ similar to artist Dan Hay, Wyrebek depicts the manipulated/ corrupted images into large scale of man-labour painting. Differs the Hay, his paintings don’t particularly depicts the whole, but the mixtures of the digital presentation. He is abstracting the images by machine, compel viewers to search for meaning in the art work, not to merely look, but to really see.
+ the use of vanish in his painting while see in details creates a dynamic texture and lamentation comparing next to the matt paint in geometric distinction. the way he names his artworks are quite like codes / computer file names as well…
- The Medium is the Massage
Marshall McLuhan, (1911-1980, Toronto), Canadian communications theorist and educator, he didn’t live to see the internet, i wonder how he thinks right now as he predicted the concept of the “global village”.
“The medium is the message” summarised his view of the potent influence of television, computers, and other electronic disseminators of information in shaping styles of thinking and thought. By playing on words and using the term “massage,” McLuhan suggests modern audiences enjoy main stream media as soothing, enjoyable, and relaxing; however, the pleasure we find in the MainStream media is deceiving, because since he changes between society and technology are incongruent, perpetuating an age of anxiety. His ideas of HOT / COLD medium is interesting: Print is hot. Television is cool. Mechanical tools are hot. Hand-wrought tools and software are cool. Hot media encourage passive consumption. Cool media encourage active participation.
—Art is whatever you can get away with.
—All media are extensions of some human faculty-psychic or physical.The Medium is The Massage by Marshall McLuhan
— The medium is the message. This is merely to say that the personal and social consequences of any medium – that is, of any extension of ourselves – result from the new scale that is introduced into our affairs by each extension of ourselves, or by any new technology.
—The artist is always engaged in writing a detailed history of the future because he is the only person aware of the nature of the present.
—Man becomes, as it were, the sex organs of the machine world, as the bee of the plant world, enabling it to fecundate and to evolve ever new forms.Understanding Media: The Extensions of Man by Marshall McLuhan
- WK — Five Themes — MOMA
William Kentridge once again, i found more resources of his works in this interactive web that shows most of the films that i was very interested in, here i can also listen to his commentary on his works. This is a site that i will be revisiting again and again.
Here i realised his importance and his awareness on the political issue that he tried to convey; the ominous monochrome vibe; the traces of the past and each movement of his patient processes; and sometimes Franz Kafka’s surrealistic imageries…
His charcoal drawings and print-makings remind me of these two german artists of the Die Brücke: Käthe Kollwitz, 1867-1945, and Erich Heckel, 1883-1970. their shared black + white and heavy expressions of the character. In many cultures, these two non-colours are associated with life and death rituals. what is the significance of these: Black is associated with power, fear, mystery, strength, authority, elegance, formality, death, evil, and aggression, authority, rebellion, and sophistication. Black is required for all other colours to have depth and variation of hue. … The colour black represents strength, seriousness, power, and authority.
having or showing keen interest or intense desire or impatient expectancy
Allison Schulnik uses painting, ceramics, and hand-made, traditional animation to choreograph her subjects in compositions that embody a spirit of the macabre(theme of death), her works were compared to “the comic-grotesque visionary James Ensor” by The New York Times.
+ i love allison schulnik’s painting/ sculpture from a long time, and of course her stop motion movies, and i rewatch this film and was so immersive and enjoyed every frame of a beautiful painterly impasto composition+painting with nuance. she creates her signature world that i desire to live in…
this is a project inspired by her… i also made a mermaid short stopmotion video but that was pretty DIY… this one too, i yet don’t know what message were i thinking to tell or express but i enjoyed dissecting and amputating a barbie toy and making a character of it
MOTH is a traditionally animated, hand painted, gouache-on-paper film. It is animated mostly straight-ahead, with frames painted on paper almost daily for 14 months. The film seeded and bloomed from the simple act of a moth hitting my studio window and continues as a wandering through the primal emotions of birth, motherhood, body, nature, metamorphosis and dance.
Allison Schulnik 2019
+ pure enjoyment of paintings in actions, transforming aesthetic into a duration of movements and changing states
- Sun Xun
Sun Xun (born 1980) is one of China’s most exciting young artists, best known for his animations made up of thousands of ink paintings, charcoal drawings and woodcuts. Containing very little dialogue, these hand-made films use combinations of image, sound and text to raise questions about what we perceive as truth and explore the slippery dynamics of memory, history, culture and politics.
+ i think i should look into more contemporary chinese artists and explore the differences and significance in modern art of my own origin
- Dan Hays paints Dan Hays’s
Dan Hay, British 1966. This large landscape painting is from a series based on images the artist found on the personal website of a man also called Dan Hays who lives in Blackhawk, Colorado, USA. In addition to using appropriated images rather than creating his own landscape compositions, the digitisation and subsequent manipulations of the electronically stored images are important elements in Hays’ working process. The pixelation heightens the differences between individual colours. Hays replicates this effect in his painting, squaring off the canvas and systematically applying small areas of colour which are matched to a digital section of the image stored in his computer.
The Colorado Impressions series is a response to the growing proliferation of information, particularly visual information, on the internet.
+ Using traditional method to paint the digitally sourced materials, and to be so realistic to depict a bad ‘ image’, with this sense of lo-fi quality in large scale, im guessing the result to see in the flesh would be phenomenal than the irony of seeing these on my digital screen…
- Moving Charcoal Drawings
“In considering the concept of the static drawing being animated or passing over into “another state”, William Kentridge’s animated drawings from the 1970s are still representing the type of crossover now possible, in fact inevitable, between drawings, etchings, animation and sculpture. Since 1989, he has created series of charcoal drawings towards animated films known as Drawings for Projection.
These ten short animated films—made over a period of more than 20 years—are intimate, personal meditations by Kentridge that resonate with the recent turbulent history of South Africa. “The distinctive animation technique used by Kentridge, in which he draws, erases and redraws parts of his charcoal sketches over and over, allows traces of the past to remain visible in the present. This technique also reveals the importance of remembering—and forgetting—in the work of Kentridge.”——e-flux.com
In terms of Kentridge’s performed drawings in conjunction with animation, Anne Rutherford (2013) writes that:
For Kentridge, the body becomes a medium in itself. He is not a dancer but he knows the poetry of a body moving in space. To his teacher, the famous Jacques Lecoq, the body was the vehicle of creativity and experimentation and the essence of creative theatre was play – an openness to discover what can emerge from movement and play.(Rutherford 23)
+ Kentridge describe his techniques as cross-fertilization between different mediums and genres, which is essential at play with the experimental exploration of my practice.
+ The reconstruction of the drawings, collages, thoughts and ideas that he puts together given us a pin-hole to how he makes sense of the world, and embodying the openness of ideas though the physical act.
+ He encourages not to have a script or a clear plan, to not know the answer, and embrace that provisionality and uncertainty
Overton, Neill. “Drawing as Performance: The Art Gallery Meets Experimental Theatre.” Fusion Journal, no. 7, 2015.
Luis Toledo Laprisamata creates a surrealistic depiction of a women who is relatively gigantic comparing the golden figures on while they are all siting / chilling on the ground. The complexity of the image seem like arbitrary map of veins, road and highway, consisting a range of colour that appeals psychedelic and vibrant. In the digital collage, he finds his favourite discipline, which lets him put together in a more effective way, each atom of colour to create a vast universe.
In this image we see the codes of the size differences again, which indicates that there are two types of beings exisiting, the small two groups of being look like connecting to their god of for the ritual being held here. There are many codes and symbolisms, I can see a hourglass device; three symbols on the right side that look like some magic spell of hexagon; a stairwell to the gate of the dark universe. Thousands of biomorphic and little OP Art/ optical illusion components, constructing every figures and on the air in this frame. One of the ‘god’ has a big cat head, some kind of hybrids and imaginary creatures. They look like they are about to fight, is this an indication for the conflicts of the man vs the animal realm? The intensity of the complexity evokes so much power and an otherworld illusion.
Death, spirituality, necessity, beginning and end. Death is just one more step in which we abandon the skin to continue our existence with another form. The liberating end. Another aspect of life, so vital and necessary as life itself.
The use if images and aesthetics picked up from the past, mixed with abstract and contemporary forms, transport us into a un-timed territory; and in here, present, past and future mix in a symbolic reality.
- Way of Seeing
“The camera isolated momentary appearances and in so doing destroyed the idea that images were timeless. Or, to put it another way, the camera showed that the notion of time passing was inseparable from the experience of the visual (except in paintings).
What you saw depended upon where you were when. What you saw was relative to your posit on in time and space. It was no longer possible to imagine everything converging on the human eye as on the vanishing point of infinity.” — p18
When the camera reproduces a painting, it destroys the uniqueness of its image. As a result its meaning changes. Or, more exactly, its meaning multiplies and fragments into many meanings. — p19
“In the age of pictorial reproduction the meaning of paintings is no longer attached to them; their meaning becomes transmittable: that is to say it becomes information of a sort, and, like all information, it is either put to use or ignored; information carries no special authority within itself.
When a painting is put to use, its meaning is either modified or totally changed.” — p24
“Cezanne made a similar observation from the painter’s point of view. ’
A minute in the world’s life passes ! To paint it in its reality, and forget everything for that! To become that minute, to be the sensitive plate.., give the image of what we see, forgetting everything that has appeared before our time…” — p31
Berger, John, and Michael Dibb. 1972. Ways of seeing. [London]: BBC Enterprises.
“Camera, by making the work of art transmittable, has multiplied its possible meanings and destroyed its unique original meaning.”
“Uninterrupted silence and stillness of a painting can be very striking, absolutely still, soundless, becomes a corridor, connecting the moment it represents with the moment of which you are looking at it.” — bbc ep1
- Man With a Movie Camera
“I’m an eye. A mechanical eye. I, the machine, show you a world the way only I can see it. I free myself for today and forever from human immobility. I’m in constant movement. I approach and pull away from objects. I creep under them. I move alongside a running horse’s mouth. I fall and rise with the falling and rising bodies. This is I, the machine, manoeuvring in the chaotic movements, recording one movement after another in the most complex combinations.
Freed from the boundaries of time and space, I co-ordinate any and all points of the universe, wherever I want them to be. My way leads towards the creation of a fresh perception of the world. Thus I explain in a new way the world unknown to you.”—— Dziga Vertov
- Artist living in Harlem
Khari Turner (b. 1991) is an American artist. His works are expressive of how he uses spontaneous brushstrokes very intensively, and clear depcition of the African Amerian’s features of nose and mouth, yet in chaotic and immersive texture with the various interesting effects, they are embodies of the popular culture within their community, they show a strong attitude and pride.
Even that he works with very surrealistic colourful palette with canvas, but I excessively love the monochromatic black and white in a combination with the colour and the flesh. These are ink on paper, and splash and smear use of black and white paint, so many interesting actions with the drips; scribble; bleed and smear…
The noses and lips of black skin represent my history and connection to my heritage, but they also represent the fact that people with wider noses, thicker lips, and darker skin statistically getting longer prison sentences in the US and this positive and negative is what drive the point of the work.Khari Turner
- Retracing Black
Aldo Tambellini, his experimental work in television and cinema. Fascinated by the blurring of boundaries between creative disciplines, he began to fuse film projections with music, dance, poetry, painting and spoken word, producing kinetic, sculptural installations. An artist and a poet, Tambellini began working with overpainted, scratched or perforated 35mm film slides, calling the results ‘lumagrams’ and projecting them onto the sides of buildings, as in Black Light (1966-67). His early, large-format black paintings were done in a fast, ‘low’ style, employing gloss paint, enamel and sand. The works’ imperfect state of preservation is a result of Tambellini’s radical spontaneity and his practice of deliberately exhibiting his work outside institutional and commercial contexts.
i am intereted in Tambellini, because his broad media and immersive experience with all the combined media + art forms that he curated together. He focuses on the merging of the private dimension of everyday life and the public dimension of television. Thus, i’m very intrigued with the notion of black, the unknown, origin and entropy, the zero ground, Avant-Garde Jazz, and the Cosmic Void. All of these elements are done in a very experimental mash up in monochromatic shades and sharp industrial sound.
+ other than exploring colour and emotion with expressive style, black is also a very versatile shade to create a purer essence of feeling with its tone, form, shade and texture…
+ i am engaged with the fast ‘low’ style of his way of working, the imperfect and spontaneous practice that i can immerse into my way of thinking and let the universe force take control
- Daniel Richter
Daniel Richter (b. 1962) is a German painter whose strongly coloured, often slightly surreal paintings convey current events and art historical issues with an irreverent and energetic approach.
A way of working through the insecurity, fear and paranoia of being in the world. The key, he says, is to avoid distance and to make painting human: “The moment you take something that has a human effect on you, something you can’t describe, the whole thing transforms from a topic to something that is about yourself.”
“I wanted to bring as much information into a painting as possible, which was, on a very simple level, a way of coping with reality,”
in the painting Tarifa, that moves me so much, not only the vivid colour almost-fluorescent colors and variegated brushstrokes. This reminds me of heat detection of living beings… these figures are crammed and flowing in a small representation of a dark sea… cold and desperate… the strong distortion of the facial expression… these are indexes for danger, for fear and death, for a clue in topic of refugee, or a situations of rebellion.
i think the fluorescent colour and psychedelic scene is a very contemporary approach, as the paint is only relatively new, here i dig into some research on paint that has fluorescent pigment / or even glow in the dark.
The brothers Robert C. Switzer (1914 – 1997) and Joe Switzer where the inventors of the first fluorescent pigments which they called Day-Glo. Felix De Boeck (°1898 – + 1995) is one of those first artists to experiment with fluorescent colors. The Boeck only made eighteen fluorescent paintings. “ He used earlier grafisms – mostly self-portraits, portraits of Vincent Van Gogh and a few abstract works”. He soon realized that fluorescent paints have a limited lifespan. In conclusion: Fluorescent painting only last a short time. Even if the works are conserved optimally, the first signs of intensity loss will be visible after five years.
Jenny Saville, UK, member of Young British Artists (YBAs). She focused her interest in “imperfections” of flesh, with all of its societal implications and taboos, reconstruction of human flesh was formative in her perception of the body—its resilience, as well as its fragility.
The angle she chose, life force, the look of a vulnerable, out of control state.
She is very ambitious on working on large canvas, and exploring the female artists boundary… and that sense of scale shows immediate affect the relationship with the reader and the human in the paintings, she acknowledges that large painting are taken seriously. She is currently scaffolding how to put ideas into multiple realities, “we dont live in one reality now.” She said. This is also the idea i want to reflect in my work, overlapping movements that show multi-angles and a sense of time, and presence…
I’m trying to see if it’s possible to hold onto that moment of perception, or have several moments coexist… Like looking at a memory.Jenny Saville
+ Saville overlaps with me in ways of expressing vulnerabilities, multi-realities, and the perception in the age of digital communication
- Times Zero
I came across Sarah Sze while browsing youtube channel GAGOSIAN, she is a contemporary American installation artist that uses mix-medium, collages, found objects and painting. What intrigues me so much is that Sze uses material to represent the digital texture / experience that her paintings look like glitch art. In contrast of Post-internet art that use digital as medium and platform. Her makings engage a sense of a general collective conscience in a fluid reality and virtual space.
Her dynamic practice that addresses the precarious nature of materiality and grapples with matters of entropy and temporality, leading us to decode these vast information and question the complexity of memorialising a human life in virtual space.
In the talk below, she talks about crossing-thinking materials, in ways of breaking boundaries of painting, sculptures, and all other media like photography, printmaking and video. I suddenly have ideas such as processing my inspirations, and subject matter in computers, printing them out and overlapping these fragments and blurring them to a sense of uncertainty and mass information that reflect a glance of presence.
That idea of the impossible, or the potential of those things that can only be imagined and not achieved, is what you want to do as an artist. It’s a dimension of time that you want to be thrown into, and it’s the potential of an artwork: to put you into that world of imagination. In the midst of this crisis, I think the idea of re-imagination is especially relevant.SARAH SZE: THE IMPORTANCE OF IMPOSSIBLE IDEAS
IN CONVERSATION WITH
PARIS, 14 MAY 2020
- OP ART
Nataraja is a term from Hindu mythology, which means Lord of the Dance. It refers to the Hindu god Siva (Shiva) in his form as the cosmic dancer. Riley’s use of the term refers to the emphasis on rhythm and counter-rhythm, which are central elements in the painting.
Bridget Riley’s paintings look almost mechanical / digital graphics, with this geometric abstract nature, that she influences for many designers, including the well-known graphic designer Lance Wyman, and artists associated with the YBA movement, including Damien Hirst and Rachel Whiteread.
The progression of shapes intensifies, climaxes, and then de-escalates, provoking the viewer to confront their perceptual senses as well as their ideas of “stabilities and instabilities, certainties and uncertainties.”
Steeped in the paintings of the Impressionist, Post-Impressionists, and the Futurists, Riley dissects the visual experience of the earlier modern masters without their reliance on figures, landscapes, or objects. Playing with figure/ground relations and the interactions of color, Riley presents the viewer with a multitude of dynamic, visual sensations.
+ interesting immediate visual effect that physically influences reader, which maybe can cause dizziness and nausea, and psychological responses like a hallucination or hypnosis… which i can apply to my project as a manifesto of a psychological state…
- Abstract Browsing
Rafaël Rozendaal, Dutch-Brazilian, b.1980, works primarily with websites / NET ART (internet art), producing animated abstract patterns and interactive images that explore the screen as pictorial space. His brightly colored graphics often shift or pulsate with light, while in other images he explores simple movement and gesture, as in paper toilet .com (2006), in which visitors to the site can unravel a roll of toilet paper in virtual space, or jello time .com (2007), where visitors can poke a quivering mass of jello. Rozendaal broke ground when he began to sell his net artworks; in exchange for the purchase of one of Rozendaal’s domain names, a collector’s name appears in the title bar of the work, and the site remains public and accessible to viewers worldwide.
2017, Anti Social is Rafaël Rozendaal’s third solo exhibition with POSTMASTER GALLERY. ‘Abstract Browsing,’ a Chrome extension designed by the artist transform web to vibrant, geometric patterns, devoid of information, simultaneously reveal unusual, unhuman compositions and the scaffolding of the web. Surfing the web is fast and fluid. Weaving is antithetically slow and process-based—what the artist describes as “mechanical painting.” Rozendaal selected weaving as the medium for these works because of the relationship between computer programming and the loom, thus, the loom could be considered the first computer.
“…Art is a place for reflection and contemplation. Quiet, calm, staring. Trying to observe without too many thoughts. We are used to viewing art that way, but the internet is a different place. The internet is fast paced, jumping from link to link, from impression to impression. Websites are ubique (ubiquitous) objects, they can exist in many places simultaneously.Rafaël Rozendaal
+ as a graphic designer i’m quite familiar with making website, graphics, icons… that is how i came across this artist by researching into the Post-Internet art / digital technology. i’m so inspired by him, not only his fantastic use of colour with his mundane yet fun art, but his nihilistic attitude of making these accessible for everyone…
- Totally Unaware
Fragmented, shattered, splintered tumultuous perception of the flesh and figures that show artist’s rebel against the masculinity and the negligence of our presence. To be one of the notable female artists in the abstract expressionism realm, Brown said: ” I’ve always wondered, like, what is so masculine about abstraction? How did men get the ownership over this? …”
In the video that I watch from Louisiana Channel she notes a same feeling that I get during everyday basis of the commute to work “The experience of living in a very busy city inevitably feeds into the way I see things and understand them.” The feeling of strangeness, while everyone around me are on their phones, scrolling down their unimportant feeds, the atmosphere is cold in such a lack of human connection in a bore confined space. Brown said: ” The painting reflects our society now and how disjointed it is… I’m very very conscious of our time being one of the incredibly sad things about our time being isolated people are and i get so depressed in New York by everyone wearing headphones…they are less aware of you.. ” The painting she describes: “They are in a same physical space, but they are not connected.”
I want to engage these frustration and evoke a sense of urgency to in such expressive way, and deciding if I want to depict the clear identities or out of focal point, unrecognisable faces that can be generalised as the group of people.
- Georg Baselitz
Georg Baselitz counts Willem de Kooning and Philip Guston among his key influences, and is known for his uncompromising approach and critical stance. In 1969, he began to compose his images upside down to slow the processes of making, looking, and comprehending. This inversion would become a distinctive characteristic of his painting and artistic identity.
Baselitz explained this intriguing gesture as a way of testing the limits between figuration and abstraction. He found it very important not to create anecdotal or descriptive paintings, as some figurative paintings can be. On the other hand, he disliked the subjectivism of abstract art. The inversion of his paintings seemed to him to be the perfect compromise.
“Women don’t paint very well”. And according to him, there is a simple explanation: to be a painter of quality requires a certain amount of brutality, a quality specific to the male gender.
“I was born into a destroyed order, a destroyed landscape, a destroyed people, a destroyed society. And I didn’t want to reestablish an order: I had seen enough of so-called order. I was forced to question everything, to be ‘naive’, to start again.”—— Georg Baselitz
+ i love the idea of his process of working upside-down, a disorientated way to paint disorientated subjects, yet we see degeneration, sadness, illness and death, and discovering love, tenderness, admiration and beauty…
+ i would like to experiment with painting upside-down / function with my unusual hand / eyes closed / even holding my breath? to feel the strong sense of “existence” and presence…
- Jo Davenport
As I want to shrift my style from representation to expressionism, gestural, and abstraction. By looking at some of these landscape paintings, I explore the instinctive depiction of the space and our surrounding, borrowing artist’s eyes to see the beauty of the Australian landscape.
Brush strokes are evident, crossing mesh of impasto and thick paint layers by layers, scraping over the surface, with her use of dreamy vivid colours that really resonate me.
“Davenport has engaged with abstraction as a mode of rupture – a severance from oneself that mimics the awe and dissolution felt within natural landscapes. Shifts and fractures of light and composition foster a charged emotional space between painting and viewer. A haptic energy surges within the works, as if each quivering stroke of paint hasn’t quite settled on the surface, threatening to dislodge at any moment. “
‘Nature is full of life and joy and I am always looking for creative ways to respond to it in paint”
—— Jo Davenport
+ how do we respond to abstract art, is it supposed to be hard or easy… is it about something or does it exist entirely on its own?
- Leap into the Void
Yves Klein tricked the world with this iconic photograph. In October 1960, Klein hired the photographers Harry Shunk and Jean Kender to make a series of pictures re-creating a jump from a second-floor window that the artist claimed to have executed earlier in the year. To complete the illusion that he was capable of flight, Klein distributed a fake broadsheet at Parisian newsstands commemorating the event.
“Today the painter of space must, in fact, go into space to paint, but he must go there without trickery or deception,” he wrote. “He must be capable of levitation.”
+ this work arised from the parody / irony and some kind of trickery toward the public. This can be seen to highlight the artist’s fascination with mysticism and the symbolic. Klein claimed that from childhood, he possessed a supernatural power of levitation, which is evidently what he was trying to enact with this piece of work.
+ Leap into the Void is contradictory to a demonstration of freedom and constraint. It seems a blunt act of disobedience against convention and the body as well as the laws of nature.
+ We share the same interest in emptiness, void, and the infinite characteristic of space…
- Soft / Pastel / Power
The love for pastel / dreamy colour is always in my beginning and primitive love for colour, the child-like, nostalgia scheme of cartoon colours, and the psychedelic illusional fantastic world.
The world that is almost made up with candies and rainbow, peaceful; fun; and forever harmless. By the time we grow up, we experience, heard stories, read news and quickly realised that this world has ugly places that is dark, evil and cynical.
“Louise is interested in the dynamics between the attractive and repulsive. By exploring how themes of perceived innocence such as prettiness and cuteness can be contrasted with notions of the perverse and monstrous, Zhang explores the intersection of fear, anxiety and a sense of otherness in the construction of identity. “
The name reminds me lots on this song i used to like, by artist ‘Soft Powers’ and imagining pink bubbles and radio time of just chill and enjoying sunrise and crystal sky. A summer with beach and soda. — I crave for colours, and expressive moods that changes with the lights and hues.
- Nicolas Holiber
Nicolas Holiber is a Brooklyn based artist who paints, sculpts, and creates public artwork. Combining found and reclaimed objects with artistic materials, Holiber creates contemporary objects that are inspired by the fragmented remains of ancient sculpture and the artwork of past civilizations. His art is characterized by its vivid use of color, composition, and line to produce multidimensional pieces that merge aspects of painting, drawing, and sculpture. I love this style, the fragmented constructed and textural portraitures + figuration, that depicts a strong characterisation and narrative.
In the work —This Land is Your Land, 48 x 36 inches, acrylic and oil on canvas, 2020. Suggested by the recent reading of – “13 ways of looking at a blackbird” no.2: Content arising from verbal supplements supplied by the artist. By looking this, 4 people are composited, they seem like having an argument, such is performing a violent act; expression; tension; and differences of the flesh. Is this a family situation, or is this applying the different social/racial issue? By reading his bio again “remains of ancient sculpture and the artwork of past civilizations” this further explain the painting is influenced by our social background. Is this related to the outburst of BLM?
Comparing to this, I like another piece “Homeroom” 20 x 24 inches, acrylic and oil on canvas, 2020″ a solo portraiture of really disturbing look of her face, staring at a fly on her fingertip, and a TV set and huge book behind her. This shows me a complicated emotion; the boredom; frustration; hate; and the comparable size of the fly and her face. Is she thinking about “Oh, I envy you little free life.” is this painted during the lockdown, is she craving for the outside world? This resonates me so much, and this is some kind of emotion inflecting most of us, i wish to create a memo piece for some of these feeling we all share.
- Inner Universe – Chiharu Shiota 塩田千春
Chiharu Shiota – Cell
2020; MIXED MEDIA; 20 X 30 X 23 CM – Courtesy of Galerie Templon
Japanese artist Chiharu Shiota has spent years questioning fundamental human concerns such as life, death and relationships. With Inner Universe, she invites us on a poetic journey examining the secret ties between the finiteness of existence and eternity, give us a glimpse of the complex relationships between beings and the potentially eternal interdependence of consciousnesses.
“the thread separates us from this physical presence within the object, but at the same time, this structure allows me to create a new space. Piling up layer after layer of cut, tangled and knotted thread creates the entirety of the universe bound to this frame.”
+ Shiota’s otherworld creation is mimesis, a mimic of the mind, a second world of perception and emotion realm.
+ Shiota has a distinctive signature by using red, white and black threads, what colour scheme and materials that i could consistently employ in relate to the idea?
- Elizabeth Peyton
Elizabeth Peyton is a contemporary American painter best known for her intimate, small-scale portraits of celebrities, friends, and historical figures. Characterised by transparent washes of pigment and a jewel-tone palette, Peyton’s works address notions of idolatry and obsession.
For me, her works are similar with the intention of why we paint, capturing the mood; subject’s emotion; and the general feel of the person’s aura; being fasciated with the characterisation, and being fasciated with the features and uniqueness of such people.
What attracts you in a face? Is it the eyes? The line of the lips, the wrinkles, the smile?
“I think it’s the personality that makes those lines and eyes and colors and wrinkles. You know, I think people’s faces look how they do from a lot of internal conscious decision making or even just the movements, how they use their face — it has to do with their emotional character. I think everybody is beautiful, can be beautiful… It’s sort of a matter of choice in some way. ”
“To paint well, I need to be enraptured by my subjects.”
” I think the final circle in being an artist is connecting, making some conversation to the world you’re in. “— Elizabeth Peyton
- Rings – circles – machines
GREG CREEK. Amendments. Water-colour on paper, balsa tray, each 180 x 140 x 3cm. Sarah Scout Presents, Melbourne. 2017
Creek states that his works are both optical beauty and a strong material presence — part objects, part process and part exercise in repetition.
Hirst explores the idea of an imaginary mechanical painter. The results of the spins are controlled purely by the artist’s colour choices and the motion of the machine. Hirst explains the simplicity of their appeal: “I really like making them. And I really like the machine, and I really like the movement. Every time they’re finished, I’m desperate to do another one.”
These two artists in these two works both tackle the idea of process art, using movement to gravitate paint to the surface — the made up of numerous concentric coloured rings, drips and variations. As the rings / spins gradually accrue and colour harmonies develop, time and change accumulate.
Creek is suggesting a political reference to the subtle alteration or decay of an ideal. Whereas, Hirst is purely enjoying the process of machine-made, described by the artist as “childish … in the positive sense of the word”.
The circle is a universal symbol with extensive meaning. It represents the notions of totality, wholeness, original perfection, the Self, the infinite, eternity, timelessness, all cyclic movement..
The term process art refers to where the process of its making art is not hidden but remains a prominent aspect of the completed work, so that a part or even the whole of its subject is the making of the work. (tate.org.uk)
+ what methods and techniques that i can use to repeat a process that explore the variation and the fun of colours and unexpectedness?
+ how can i use the primary shape — circle, as a motif to articulate my subject?
- Marlene Dumas
I love the gestural brushstrokes and the thin washes of paint / watercolour / ink to create this distinctive appearance. She is exploring the complexities of identity, raising awareness on social & political issue by collecting from her personal collection and the print media. Looking at her background of being born in South Africa, she is confronting themes like racial and ethnic identity.
The majority of her works may be categorised as ‘portraits”, but they are not portraits in the traditional sense. Rather than representing an actual person, they represent an emotion or a state of mind.
Race and sexuality, guilt and innocence, violence and tenderness.
Swedish artist Anna Bjerger commented “A good figurative painting does something to you, surprises you, takes you somewhere different, is convincing and generous. A good painting often leaves you speechless,” she said. Like her peers, Bjerger also ties a figurative painting’s merit to the response it elicits in an individual. She admires the paintings of Marlene Dumas, whose work “feels naked yet lush”; the South African painter “manages to transcend meaning in a way that never feels blunt,” Bjerger said.
+ who are the subject matters that i’m depicting? what similarities do they share? + what culture / social aspect that i am interested in?
+ how do i create a signature voice that elicit a reaction in the viewer?
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- /mood!/ Vol.02
~ a visual expression by digital creation ~
- /mood!/ Vol.01
~ a visual expression by digital creation ~
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