Shadow of a Daydream

Adrian Ghenie – Charles Darwin at the age of 75, 2014

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.

Nature, Dynamic, Fragmented

Naturell GR Video installation Solyanka Museum of Modern Art in Moscow © Konrad Wyrebek.jpg
Naturell GR, video installation Solyanka Museum of Modern Art in Moscow 2013 © Konrad Wyrebek
SIX Cr2 , painting - oil and acrylic paint, ink, spray paint on canvas, 200x150x4cm © Konrad Wyrebek.png
Six paintings installation – oil, acrylic, ink, spray paint and varnish on canvas, 9x2m ( each 200x150x4cm) © Konrad Wyrebek
CaMMo + TTRRistan
 oil, acrylic, spray paint, ink and varnish on canvas, 200x150x4cm
LifeTv 3GWater + TxtCoverd 3Graces LifeTv
painted cast aluminium, 62x45x25cm

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…


Eager /adj/
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…

“My fixation on these characters is not intended to exploit deficiencies, but to find valor in adversity.” 


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

emma x zhang


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.


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.

Artist living in Harlem

1. Exit Breathe.JPG

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

Daniel Richter

Daniel Richter, ‘Tarifa’, 2001
Tarifa, 2001
Oil on canvas, 137 4/5 × 110 1/5 in, 350 × 280 cm
Daniel Richter, ‘Süden’, 2002
Süden, 2002
Oil on canvas
289.4 × 299.6 cm
Daniel Richter - Grimm Gallery
Gundula, 2001
Oil on canvas
230 x 150 cm
Daniel Richter, Flash (small version), 2009
Flash (small version), 2009
Oil on canvas
270 x 220 cm

Daniel Richter, ohne Titel (untitled), 2009
ohne Titel (untitled), 2009
Oil on canvas, 298 x 598 cm | 117 3/8 x 235 3/8 in

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.


stare iii by jenny saville
STARE III,  2006
oil on linen
270.6 x 220.6 x 6 cm. (106.5 x 86.9 x 2.4 in.)

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

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 < Cecily Brown Interview: Totally Unaware > 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.”

“The phone is obviously the death of society and culture.”


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 Arrivare con cenere, 2019 Oil on canvas 304 x 350 cm (119,69 x 137,8 in)
[no title] 1995 Georg Baselitz born 1938 Purchased 1997
[no title] 1995 Georg Baselitz born 1938 Purchased 1997

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…

Nicolas Holiber

This Land is Your Land, 48 x 36 inches, acrylic and oil on canvas, 202
Homeroom, 20 x 24 inches, acrylic and oil on canvas, 2020

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.

Nicolas Holiber