Wednesday, 24 June 2009

Renie Spoelstra

Recreatiegebied 29, 2005, 240x320cm

Recreatiegebied 28, 2005, 240x310cm
Recreatiegebied 35, 2005, 240x350cm
The intention of the huge charcoal drawings of Renie Spoelstra is to let the viewer experience an atmosphere of deliberate apathy; hours and days go by in a split second, every moment frozen in time and every moment equal to the other.

Eric Jan van de Geer

Blacktorn 2 - 2002/03 - Inkjectprint, silkscreenprints on paper on aluminium - 88.5 x 166.5 cm

Suit - 2005 - Pigment-print, etching/aquatint, print of the suit, silkscreenprints on paper on aluminium - 80 x 55cm

a mad printmaker.. for moon....

Gregory Crewdson

Untitled, Winter 2005
Digital C-print
(Vanity from Beneath the Roses)
64 1/4 X 94 1/4 inches 
(163.2 X 239.4 cm)

Untitled, Winter 2005
Digital C-print
(Blue Period from Beneath the Roses) 
64 1/4 X 94 1/4 inches 
(163.2 X 239.4 cm)

Untitled, 2001
Digital C-print
(Ophelia from Twilight)
48 x 60 inches

Untitled (Shane), Summer 2006
Archival inkjet print
Edition of 6 and 2 Artist's Proofs 
Print: 57 x 88 inches
Frame: 58 1/2 x 89 1/2 inches

Untitled, Winter 2005
Digital C-print
(Bed of Roses from Beneath the Roses) 
64 1/4 X 94 1/4 inches

All images from the Luhring Augustine  website

Sandy Smith

leo, I though you might like her work.. this is her website


Aaaaaarggggggg this guy is so amazing i'm feeling sick .... eeew eeeew

this has given me a very nice twist to my dissertation subject.... so is very exciting that I can again borrow books from the library!!

Retinal Memory Volume

'Retinal Memory Volume' is an interactive installation that builds sculpture using the biological mechanisms of the viewer's eyesight. During the experience the viewer's eyes both construct, then erode the form.

The patented retinal after-image process can be considered as a form of printing or photography, where the retina replaces the paper or light sensitive film. The object is created from the absence of photopigments in the eye."


MATRIX is an interactive installation which uses retinal after-image technology to create virtual light sculpture within the mind of a viewer.
Formed within a new perceptual world, sculptures exist in an altered dream like reality. Created from the absence of photochemicals within the eye, the mechanisms of the viewer’s vision, firstly construct then erode the form.  The work asks how numbers are stored in the mind, where do they exist? How are numbers or units visualised?

Tunnel Vision

The artwork aimed to evoke the imagery experienced in worry and problem solving as he lay in bed at night on the edge of sleep. An atmosphere of the industrial age was created with sound and a beautiful sense of loss was described through music. Trains appeared to move along the length of the disused railway track passing through any visitors present.

"The sculpture is like a solid presence, more real than a memory. It is like an object in a dream, yet your eyes are open."

As the work is formed inside the viewer, documentation of the sculpture is impossible. The work allows people to observe their own eyesight, and asks the question, at which point does perception end and memory begin?

Sculptural and perceptual studies
Fog Forms 2004

Light study - refocusing light off the surface of a butterfly

First Breath

During our lifetime the majority of us experience the same mundane and life changing moments. Whether we're cleaning our teeth, having our haircut or getting married, it's these common experiences that help us to connect with one another. At any given time in each city, there are disconnected individuals and hidden communities living through the same life experience. First Breath reveals and makes visible one of these communities.


A gravity meter located in the gallery space measures the changing gravitational pull of the moon and sun on the earth. This information is represented as a video projection showing a full 24 hours of altering gravity. The received data is then made to control water levels automatically within each sculptural object. A friction device makes the glass of each sculpture resonate and sing, like rubbing a finger around the rim of a wine glass. The rise and fall of water levels over time from high to low tide changes the note produced by each singing sculpture.

Portrait Projecting Ring

All images and text taken from his Website, where you can also find some essays...

Tuesday, 23 June 2009

Nathan Coley

46 Brooklands Gardens - 2008
Firstsite Public Commission, Jaywick, Essex

Palace - 2008
Installation view at De La Warr Pavilion, Bexhill on Sea

There Will Be No Miracles Here - 2006
Mount Stuart, Isle of Bute

Images from here.. at doggerfisher, where you can also find his biography

Ellen Kooi

All images taken from her Website

Nicholas Hughes

From the series In Darkness Visible, Verse 1 and Verse 2

In Darkness Visible 2005 – 2007
His luminous photographs could well be considered paintings in the sense that they are often multi-layered constructions. Yet they remain pure photography……Hughes is indeed both writing with light as the root of the word photography implies and using the camera as one of photography’s inventors, Henry Fox Talbot described it, “as the pencil of nature.”
Verse I
In reaction to media led sensory anaesthetisation, and wearied by empty political rhetoric, my aim was to construct a forest built from accumulated memory and the ghosts of trees. Spending a period of two winters’ visiting public spaces in central London, this work inverts decorative Arcadian layout in an attempt to restore a sense of the natural in the cultivated, somewhat synthetic city ‘wilderness’ spaces.
Verse II
Turner was moved by what he called “The weather in our souls” - he could see the universe in a rainstorm. This study of ocean currents found added gravitas through the weight of childhood familiarity.
This search for emblematic last points of light within ensuing darkness involved long periods of contemplation on the complexities of nature, from a familiar vantage point, finding company in the words of Thoreau in his retreat to the American wilderness of Walden:
“All change is a miracle to contemplate; but it is a miracle, which is taking place every instant.”

Images and text taken from his website

I love this for the atmosphere, I like that foggy look, the not being able to see the end of this forest. 

Lola Bunting

Was this the place? stereoscopic photograph, 2008

I saw her work in her graduation show last year at chelsea, unfortunately she hasn't got a website or blog, so this is the only image I could find of those beautiful little boxes she made...

What I remember of her boxes is that they were small, and you had to look through a glass, the room was dark, and the boxes where illuminated from inside, you felt a little sense of omnipotence, like if you were this massive eyes looking onto the entire world. I like this though for my boxes, may be I make a little window, i imagine looking into it and have this feeling of witnessing from above, looking into something you are not supposed to,  the voyeur's eye . with a magnifying glass perhaps to distort and at the same time give depth. 

Wednesday, 17 June 2009

Tara Donovan

Untitled, 2003
Styrofoam Cups, Hot Glue
Dimensions Variable
Ace Gallery Los Angeles, 2005


Haze, 2003 (Detail)
Stacked Clear Plastic Drinking Straws
Dimensions Variable
Museum of Contemporary Art San Diego, CA Fall 2005


all images taken from Here

Monday, 15 June 2009

Christine Rusche

she mainly does Room Drawings,

but I like her Overpainted Photographs better:

overpainted photographs, Ink - pen on photographs, from 10 x 15 cm to 100 x 150 cm,
2000 - 2003

all images from her website

Wim Bosch

Frame #03
pigmented ink on paper, aluminium
68 x 91 cm

pigmented ink on paper, aluminium
99 x 131cm

images from her website

Caroline Coolen


“'Arctic landscapes'”

Mary – X – miss
1999, gips, antennes

Attic”, 2000,
houtskool + acryl op muur

All images from her website...

Ceramic has a domestic and home like context, like something you find at your grandmothers home, it is also fragile and very often we connect it with being expensive, something that as a child you are not aloud to play with, is a decorative beautiful object, I am thinking in particular  those white and blue little persons.  
So for my little 'narcissus and echo' forest, I would like to make them out of ceramic. I like the thought of their fragility, the being a beautiful object that you acquire  as an adult. They would be depicting a moment which is tragic and cruel and totally private, I think this disassociation would make it very strong. I would like echo to be reflective, mirror like, to stand in front of echo and be her mirror.   

Rob Voerman

2000 Linoleumprint and soot on paper 97 x 77cm
Edition of 15 + 1AP

2001 Woodprint on paper 160 x 100cm
Edition of 5 +1AP

'Host # 3'
2009 Wood,glass and polycarbonat 66 x 96 x 27cm

2004 Wood, glue, display-slides a.o.m. 235 x 135cm
Pigfarm with wooden annex with various function incopporated in it like: elderly-home, restaurant, funeral-home and museum.

all images taken from his website

When I found Voerman's work, I had already been researching on victims and tyrants for a while; and had already red the myth of 'narcissus and echo' and was thinking in how to create this little forest, a small 'box' where you could looking in to and witness their encounter. I quite like the rawness of Voerman's little constructions, in 'mega farm' the being able to see all the materials, very much like if he just found them on the floor and then made this and in 'host 3' hos it sort of grows in many directions.