I, for example, seam to always find that image, you know, that image that i was sort of imaging what im currently doing would be looking like when i finish... Hug here, seam to have arrived to my 'mathematical poems' a little before i did... I hate when that happens, because i wanna think is me being in tune with what s happening around me, but i always end up thinking is my selective bad memory being very good at convincing me I thought of it before i saw it.. but, did I? is this really the first time i see it?
.. you still have until the 12th of September to see this at the Sadler's Well theater...if you are tired the day you go, have a coffee before.. the music and choreography are from the 80's and it is repetitive, but so beautiful and strong...
and I wish I had seen this one as well:
Energy: Duality, the self-the other, solitude, quiet violence, the search for reflection, sexual tension, the body, the self in the body.
and talking about memories that inspired me at some point...
last night I went to a night of "noise" at the foundry in old street, and although i was horribly tired and had be leave early, it was rather refreshing... and it reminded me of that japanese film from late 80's remember Tetsuo?
and also.. the videos shown at the China power station in battersea ...
trying to revisit things that inspire me. feeling bit blahhh but things like this make me want to paint express stuff and all that
this is by hermann nitsch
i dont know who made this image but i rather like it:)
Is middle August, is time for me to start thinking pigeon.. 5 years in advance... so, next move? well, graduating in june 2010, but gotta think MA applications are around january, so Portfolio is gotta be nice and finish by december... hmm... so, the decision whether what MA on has to be done pretty much now.
Three MA's are on my mind, Ceramis, Sculpture and Fine Art.
I started by checking out this 3 at the Royal College of Art, just by mere curiosity, I know I can't afford it.. and well, even if I could, It just would not be possible... MA in Ceramics asks a BA in ceramics or glass or equivalent professional experience where candidates from related backgrounds, for example, textiles, sculpture, architecture and industrial design can be considered. The Sculpture one asks for a a good first degree in sculpture and display a talent in the making of sculpture and a mastery of its basic techniques. And they dont offer a Fine Art one, but the Painting one well, Im not sure if I would like to do that one..
So anyway after that, I started looking in to the University of the Arts MA programs, and thinking of the Ceramics final show at camberwell, I had another look at their requirements. I found this video which I found exciting because they make and emphasis on their sculptural and fine art approach.
I did a little research on the work of the people mentioned, and to be honest, hmm. did not find their work that very exciting...
Edith Garcia's X & 0
Richard Slee's Picnic, 1998, 26cm high, hand-built glazed earthenware
So I better include some of the work I saw from the people graduating this year, why did I like them better? (may be is just a the digital image of the 3D object against this experience of being at the exhibition)anyway, this are:
'By exploiting the tension in narration between seduction (pulling inward) and incongruity (pushing outward) I hope to expand a space in my work, where the viewer is able to question the impulse to ‘fall into’ the medium of film and where resistance to the urge to empathize with its narrator occurs. By doing this, I hope to invite attention more broadly to the potential of the site where the boundaries between self and other, between empathy and closure, can be redrawn.'
'Rowe uses film as a medium for investigations into the formulative structures of artistic practice: practice that takes place both under the immaterial conditions of histories of thought as well as material conditions of histories of power. Her recent short films have made particular and recurring reference to the role of authorial voice in the construction of sound and un-sound narrative spaces and their consequences for a possible viewer.
.....this apparently natural link between what is shown and what is spoken wavers in and out of synchronicity....... occupying the same space but embodying dissonance. The narrative whole of any articulatory structure, be it documentary or artist’s pronouncement, is made to feel falsely naturalised - a sutured space that may momentarily oppress or repress multiple voices.'
Lois is currently Acting Pathway Leader for BA Fine Art: Print & Time Based Media at Wimbledon College of Art.
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.
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
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.
Tide
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...
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.”
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.
