starting point
codeine linctus in bottle
sweet dreams
warm glow
the drugs do work
Thursday, 18 December 2014
research: Artist Emma McNally- carbon dreamscapes
Emma McNally’s drawing, Carbon Cleaving, brings different ways of describing space together: cartographies, technological spaces, telecommunications, flight paths, tracks and transmissions. The materials used to create these spaces of transformation include paper, graphite, chalk, tissue and holes and metal pins that impregnate the soft paper surface. She writes: ‘I like graphite’s materiality: its mess and dirt as well as its capacity to leave the cleanest, sharpest percussive marks and lines. I feel like I’m forging land formations when I use it, or scattering particles, or spiralling vortices of smoke and water’
emma mcnally's flickr account
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| Emma McNally Carbon Cleaving 2010 |
artist: Doris Salcedo- melancholy and memory
The artist’s work is an ongoing exploration of how to address and articulate violence and loss. The objects she makes are works of intimate remembrance. Travelling through Colombia with humanitarian groups, Salcedo gains inspiration from the testimonies of people who are struggling to rebuild their lives after suffering the loss of a family member. She acts as a witness, meditating on the loss of freedom and human life in a country enduring a culture of collective fear—the result of years of civil war, drug-related crime, state-sanctioned torture and executions.
The materials she works with: simple furniture like wardrobes, tables and chairs, clothing, thread and animal skin, speak of the sanctity and familiarity of everyday domestic life. Through her molding or reshaping of these pieces - embedding a chair within a doorframe, grafting two tables into an unstable hybrid - she creates a traumatized, dysfunctional, object.
Research: works of Tim Knowles
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| Nightwalk - Valley of Rocks #1 |
i love the ambiguity and dramatic lighting of this shot
Artists statement about the tree works
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I use apparatuses, mechanisms, or systems beyond my control to introduce chance into the production of my art. The pieces here are from a series produced by trees, most of which are located in the Borrowdale and Buttermere areas of England’s Lake District. I attach artists’ sketching pens to their branches and then place sheets of paper in such a way that the trees’ natural motions—as well as their moments of stillness—are recorded. Like signatures, each drawing reveals something about the different qualities and characteristics of the various trees as they sway in the breeze: the relaxed, fluid line of an oak; the delicate, tentative touch of a larch; a hawthorn’s stiff, slightly neurotic scratches. Process is key to my work, so each Tree Drawing is accompanied by a photograph or video documenting the location and manner of its creation.
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| full moon series: reflections of full moon on water |
2013
Single channel 12 hour HD videoA slowly shifting film made up of 9004 digital pinhole photographs taken consecutively during a walk across Mungo National Park, from its Western border to its Eastern border. The film [the sequence of images constantly cross dissolving one into the next] gives a Turneresque impression of the journey through Mungo's varied landscape of grasslands, dried up lake bed, dunes, Mallee forest, etc.The landscape in this Australian based video is familiar in it's colours and wildness. I like the camera shake, the dream-like quality. |
I love the strong concept behind the work, the use of chance to create the images, but ultimately the artist is choosing which iamges to keep/discard/show. like the chance element to the work, capturing time with traces. THe artist has also started using montage of still photos to make video-work which I'm interested in. Following of from a video project combining stills and short sharp bursts of abstract video footage, I would like to pursue this as a way of combining a number of abstract images to create mood. |
ideas: japanese designer Naoya Matsumoto- working with light and paper
The crinkly surfaces were formed from lengths of rumpled tracing paper, sculpted by the designer and local residents to achieve a textured, rock-like appearance across the angular walls and ceiling.
article from : http://www.dezeen.com/2014/12/18/naoya-matsumoto-design-crumpled-paper-grotto-bar-osaka-japan/
Paperwork inspiration: SIMON SCHUBERT
http://www.dezeen.com/2012/05/28/paper-works-by-simon-schubert/
The artist Simon Schubert (born 1976) graduated from the academy of Fine Arts Kunstakademie Düsseldorf, Germany (sculpture master class of Professor Irmin Kamp).
Simon Schubert, who mentions authors Samuel Beckett and Edgar Allan Poe as his biggest influences, raises the most existential and fundamental questions. Loneliness, isolation, loss and disappearance are the reoccurring issues in his paper works and sculptures. The mysterious and unsettling atmosphere his works radiate confronts the viewer with his own subconscious fears and anxieties.
In his paper works Schubert folds and creases the sheets in an extraordinary technique, adding a plastic quality to the plain paper without any graphical aid. Staircases and hallways, insights of stately homes are shown, seemingly on the point of dissolution. The rooms are inhabited by hidden human figures whose ghost-like shadows seem to enter or leave the scene.
The paper works are made of plain paper. The papers are entirely folded and uncoloured.
The three dimensionality of the picture is a result of a special technique. The lines, angles and circles are raised several millimetres as the result of positive and negative folding. Those reliefs change in the interplay of shadow and light and move between two and three dimensionality.
In different lighting, like the changing of daylight, the pictures change from nearly vanishing into an illusion of space and three-dimensionality.
Simon Schubert lives and works in Cologne, Germany.
Sunday, 14 December 2014
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