RGB Mode

Tabor Robak, Piggy, 2019. Neon, 2 monitors (1 HD/1 4K), LED, LED matrix, wood, latex paint, laser printer, matte varnish, aluminum extrusion, custom vinyl decal, acrylic panel, and modular connectors, 56.5 x 82 in
Newborn Baby
Newborn Baby
Drinking Bird Universe, 2018
Digital video with live data; 30 minutes (looped)
6.1 x 183.9 x 105.2 cm

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.

https://www.taborrobak.com/

https://sculpturemagazine.art/tabor-robak/

Same Same but Different

Series: Untitled, 2006.
Epson UltraChrome inkjet on linen, 89 × 54 in. (226.1 × 137.2 cm). © Wade Guyton

Installation view of Wade Guyton OS exhibition.
Installation view of Wade Guyton OS (Whitney Museum of American Art)
Untitled, 2007. Epson UltraChrome inkjet on linen, 84 × 69 in. (213.4 × 175.3 cm)

Installation shot.
Installation view of Wade Guyton OS (Whitney Museum of American Art)
Untitled, 2008. Epson UltraChrome inkjet on linen, eight parts
+ U Sculpture (v. 6), 2007. Mirrored stainless steel

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;
  • Multiplication
  • Ecstasy, a particular street drug;
  • Forbidden +18 things;
  • Intersection
  • 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.

https://whitney.org/Exhibitions/WadeGuyton

https://www.printmag.com/post/international-typeface-organization

https://www.psychologytoday.com/us/blog/evolution-the-self/201603/whats-so-fascinating-about-the-letter-x

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…

https://www.konradwyrebek.com/

https://www.widewalls.ch/artists/konrad-wyrebek

https://sophiacontemporary.com/artists/53-konrad-wyrebek/biography/

Sun Xun

Newspaper Paintings,2015–2018. Installation view, Museum of Contemporary Art Australia, Sydney, 2018. Ink and colour on newspaper.

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

Moving Charcoal Drawings

9 Drawings for Projection, 2005

“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.

https://fusion-journal.com/issue/007-fusion-mask-performance-performativity-and-communication/drawing-as-performance-the-art-gallery-meets-experimental-theatre/

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

Retracing Black

Aldo Tambellini Black Electromedia Performance at Black Gate, 1967
Aldo Tambellini, performance of Black Zero, 1965, at Black Gate Theater. Photo by Ehrlich.

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

Times Zero

Sarah Sze, Ripple (Times Zero) (2020). Oil paint, acrylic paint, acrylic polymers, ink, aluminum, archival paper, oil stick, pencil, graphite, string, push pin, diabond and wood. 289.6 x 362 x 9.5 cm. © Sarah Sze. Courtesy Gagosian. Photo: Rob McKeever.
Sarah Sze, Blind Spot (Times Zero) (2020). Oil, acrylic polymers, ink, aluminium, diabond, and wood. 262.3 x 327.7 cm. © Sarah Sze. Courtesy Gagosian. Photo: Rob McKeever.

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
TESSA MOLDAN
PARIS, 14 MAY 2020

https://ocula.com/magazine/conversations/sarah-sze-/

https://gagosian.com/quarterly/2020/04/07/video-sarah-sze-anything-times-zero-is-zero/

Abstract Browsing

Abstract Browsing 17 03 02 (Google Image), 2017, Jacquard weaving
79 × 57 in / 200.7 × 144.8 cm


Abstract Browsing 17 03 02 (Google Image), 2017, Jacquard weaving
79 × 57 in / 200.7 × 144.8 cm
Times Square Midnight Moment, New York

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

reflection

+ 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…

https://www.newrafael.com/

https://chrome.google.com/webstore/detail/abstract-browsing/nmkbjeagaobhphiipgigbjhligebkfcg

https://www.artsy.net/show/postmasters-gallery-rafael-rozendaal-anti-social

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