Quiet Place

Cover Design: Dataverse by Deep Learning
The Royal Exchange
Similar High Hopes
Augmented Reality Risograph Zine
Bonzie — “alone”

Nicholas Law

Artist and designer from Buffalo, New York.

https://nicholaslaw.work/

+ formalism in digital art, a quiet pure electric place that i could enjoy without the stress of interpreting into bullshit meanings

♪ ♫ ♬ DATAVERSE DEEPLEARNING

https://salmonuniverse.bandcamp.com/album/dataverse

WK — Five Themes — MOMA

William Kentridge
in this interactive web site visitors can explore the five major themes in his work and see six new videos that include the artist’s commentary. 

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.

Kathe Kollwitz – Memorial for Karl Liebknecht
Erich Heckel – Stralsund

https://www.moma.org/interactives/exhibitions/2010/williamkentridge/

https://www.fastcompany.com/1561390/stone-age-animation-digital-world-william-kentridge-moma

Dan Hays paints Dan Hays’s

Colorado Impression 10 a + b (after Dan Hays, Colorado)
2002, oil on canvas, 152 x 203cm
Colorado Impression 11a + c (after Dan Hays, Colorado)
2002, oil on canvas, 152 x 203cm

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…

https://danhays.org/index.html

https://www.tate.org.uk/art/artists/dan-hays-5466

https://www.artsy.net/show/christine-park-gallery-dan-hays-interstate

Rituals

Rituals II (Chillin’ in the Blue Dessert)

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.

More Rituals form the Blue Desert

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.

Rituals

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.

https://laprisamata.com/

https://www.behance.net/gallery/103858867/Selected-Works-2020?tracking_source=search_projects_recommended

OP ART

Bridget Riley, Nataraja, 1993,
Oil paint on canvas
1651 × 2277 mm

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, Fall
1963, Polyvinyl acetate paint on hardboard
1410 × 1403 mm

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.

“For me nature is not landscape, but the dynamism of visual forces.”

BRIDGET RILEY

reflection

+ 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…

https://www.theartstory.org/artist/riley-bridget/life-and-legacy/#nav

https://www.tate.org.uk/art/artists/bridget-riley-1845

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

reflection

+ 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?

https://www.jodavenport.com.au

A profound loss – John Nixon

As I am just exploring related artists from <13 ways of looking at a blackbird> from Steven’s notes. Under the headline of “content arising from the material of which the artwork is made” in the article, with the example of our lecturer’s note— “Art supplier vs. hardware shop – see John Nixon”, and then I finding out the bad news just happened to this date : ” The influential Australian abstract artist and leading exponent of radical modernism, John Nixon, has died at the age of 70 by struggle with leukaemia, at his home in Melbourne.” RIP…

Nixon’s minimalist, abstract aesthetic was influenced by the Russian avant-garde artist and art theorist Kazimir Malevich, that invented suprematism. John Nixon is a seminal figure in contemporary Australian abstraction. Since 1968, his work has been dedicated to the on-going experimentation, analysis and development of radical modernism, minimalism, the monochrome, constructivism, non-objective art and the readymade.

Kazimir Malevich Black Square 1913 © State Tretyakov Gallery, Moscow

Kazimir Malevich

Malevich called his new abstract approach to painting suprematism. Suprematism is all about the supremacy of colour and shape in painting. By sticking to simple geometric shapes and a limited range of colours he could focus on the painting itself and not be distracted by representing a scene, or landscape or a person.

He wanted to completely abandon depicting reality and instead invent a new world of shapes and forms. In his 1927 book The Non-Objective World, he wrote: ‘In the year 1913, trying desperately to free art from the dead weight of the real world, I took refuge in the form of the square.’

Malevich set out to change forever the idea that painting has to represent reality. It’s intriguing to think how doing something simple or even seemingly dull, can sometimes be revolutionary.

reflection:

+ what materials other than paint / paper that i’m ready to explore? will i be thinking about grouping by their colour / form / materials?

+ i like the idea of Suprematism / Primary Abstraction, as i like painting without the distraction of painting the likeness of a person in a portraiture, will this be able to communicate my ideas by defying figurative associations?

https://www.smh.com.au/culture/art-and-design/a-profound-loss-artist-john-nixon-dies-20200818-p55muq.html

annaschwartzgallery.com

Soft / Pastel / Power

Louise Zhang ‘Soft Horror’ 2017. Installation view, 2017 NSW Visual Arts Emerging Fellowship, Artspace, Sydney. Photo Credit: Zan Wimberley.

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.

https://visualarts.net.au/artist-files/2018/louise-zhang/

https://www.louisezhang.com/About

Elizabeth Peyton

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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

https://the-talks.com/interview/elizabeth-peyton/

http://www.artnet.com/artists/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

DAMIEN HIRST,
Beautiful Vibrations and Soundwaves Painting
2008

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)

reflection:

+ 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?

http://www.damienhirst.com/beautiful-vibrations-and-sound

https://www.gregcreek.net/#/amendments/