Friday, 28 September 2012
I have just returned to the Namibian desert.
What if through interspecies collaboration we could explore our shared imagination? We are accustomed to seeing stories through the eyes of human beings. That is why, in many of these images, the human eyes continue to be closed and the animals’ eyes are open. It is the animals that gaze out at the world and tell us their stories.
Gregory Colbert
Thursday, 27 September 2012
David Maisel: Library of Dust
New York City based artist David Maisel brings our attention to ethics and aesthetics in a most sublime way. His most recent project titled Library of Dust is a series of photographs of unclaimed and forgotten copper canisters containing the cremated remains of patients from a state-run psychiatric hospital. The science behind these eery though beautifully aged canisters lies in the copper, as it goes through chemical transformation due to prolonged contact with it’s contents. The outcome is striking enough, but it’s possible that the pull between matter and spirit is what makes this series so fervent. What we’re dealing with here is a conflict of sorts. We have these colorful, blooming canisters almost calling for our visual attention; however, time was ever necessary in the process of this chemical transformation, some urns having sat unclaimed by family since 1883. Thus to the surface also rises themes of neglect, remiss, and more impatiently, our own mortality. Maisel comments on the library in which these are canisters are numbered from 01 to 5,118: “Imagine the many separate fates that led these thousands of individuals to this room. What combination of choice and chance, of illness, of representation and misrepresentation, an infinite number of slippages multiplied more than three thousand times over, circumscribes this room, this library.” The artist also poses the question: is it possible that some form of spirit lives on?
Friday, 14 September 2012
New paintings by David Tomlin
Thursday, 13 September 2012
Monday, 10 September 2012
Suzanne Opton, Soldier/Many Wars (Decode, 2011)
Thursday, 6 September 2012
Paul McGuire
Tuesday, 4 September 2012
Tuesday, 28 August 2012
Jean-Paul Riopelle, Pavane, 1954
From the National Gallery of Canada: Jean Paul Riopelle was one of the most ambitious artists of the group “Les Automatistes”. The artist applied paint directly to the surface of the canvas using a palette knife, blending each mark in a free, abstract and automatic gesture. Space is created by the relationships of colours as they intersect or lay in close proximity to each other. This creates an animated surface, with some colours receding and some dancing forward. This monumental triptych was first exhibited in Canada in 1963 as part of the artist’s retrospective at the National Gallery of Canada, and its title refers to a Spanish dance that originated in the 16th century. The dance incorporates a stately and processional rhythm, which is captured in the energy and movement of this painting.
Jean-Paul Riopelle, Untitled, 1953
From the National Gallery of Canada: Inspired by his admiration for Claude Monet’s waterlily paintings, Riopelle, by spray painting the colours, captures the water’s properties of transparency and infinite depth as well as its shimmering surface. India ink, applied in daubs and dripping lines, replicates the effect of the waterlilies which float on the surface and whose tendrils penetrate the liquid colour. This drawing is an important new direction in the artist’s work which will lead him to his masterworks such as “Pavane” 1954.
Monday, 27 August 2012
Animals in the Womb
Wednesday, 22 August 2012
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