Richard Serra

Yadir Quintana

Dil Hildebrand

pane e 

Through a broad range of techniques, including collage and trompe l'oeil, Hildebrand tinkers with the conventions of imagery with technical ingenuity and conceptual intuition and care.  History and memory trace an oneiric path through his multiple approaches, incorporating various traditions such as Romanticism, Cubism and Surrealism.  The influence of theatrical scenography – a field in which Hildebrand worked for nearly 10 years - infuses his canvases with an enigmatic false reality. 

Hiroshi Senju

charline von heyl

acrylic and oil on linen¬¬

the striped marks are what catch my eye here!

not sure but the colours are similar to my worn down sand paper!

Valerie Hird

actual relevent stuff to my project!!

Doxy,, acrylic on aluminium!

gel on stainless

oil on aluminium

Karla Black

her sculptures change and disintigrate over time!
her pastel palette gives her works and feminine quality.

Ryan Carr Johnson

used house paint on plywood and hand sanding, which is exactly what i was doing!!
damn... he got there first...

Gregory Crewdson

Henrique Oliveira

ok so it's sculpture.... but I actually like it, and seeing as I am currently researching installations, maybe this is kind of relevant? speaking of installations, I'm shite at them :/

Gottfried Helnwein

This guy is so so interesting, but extreemly fucked up... which is probably what draws me in to be honest.

Angels Sleeping 2008

I Walk Alone 2003

121 cm x 172 cm

mixed media (oil and acrylic on canvas)

Gottfried Helnwein - I was a child exhibition

The Disasters of War 24 2007

195 cm x 242 cm

mixed media (oil and acrylic on canvas)

In Memory of Francisco de Goya

As I have just chosen to do the seminar called Mirrors of Enigma with Dr. Kieran Cashell, which is full of philosophical and metaphorical meanings, it is obvious that these type of paintings drawy me in. They do not simply be, they have an effect on the human side of every being. they are powerful and evocative, which is what art should be, in my opinion. I dont do abstract or experimental meaningless purely visually stimulating art, it is just not the way my brain works. I like art with serious and deep meaning behind it, art with an impact and that has the ability to change peoples thinking and make can pull emotions for an even emotionless person.

This image of a child in a military style jacket with a bandage across his or her head covering their forehead and eyes implies that he or she has been damaged in someway, and the jacket suggests the obvious.. 

the child is holding a deep black heavy looking hand gun and is pointing it at a childlike animated character which is cast in a blue shadow, and has its hands in a praying position looking wide eyed, dressed in clothes which are similar to that of a school girl.

It is obvious what Helnwein is trying to point out here, in the black space of nothing he addresses the profound effects of war on the purely innocent

Helnwein creates hallucinatory images of reverie, and it is with powerful gestures of light and shadow that he seduces the viewer even as he depicts the aftermath of violence, brutality and suffering. His paintings often depict children as victims of unexplained violence, representing them as archetypal characters in a theatre of cruelty perpetrated by unseen forces. Equally mesmerizing are the artist’s personifications of Mickey Mouse and anime figures, casting them in his on-going exploration of psychological and sociological anxiety and society’s darkest impulses.
Helnwein’s work is visually reminiscent of both old master painting and contemporary cinematography. His use of lighting and mis-en-scene often creates an atmosphere of angst or acquiesence. It is the artist’s painterly treatment of unspeakable acts that affords the viewer just enough comfort to contemplate the horrors that he depicts and it is his masterful handling of his painted images that re-inforces the quiet, intrinsic beauty of his subjects.

The Murmur of the Innocents 14 2010

233 cm x 349 cm

mixed media (oil and acrylic on canvas)

Gottfried Helnwein

"It is the the function of the artist to evoke the experience of surprised recognition: 
to show the viewer what he knows but does not know that he knows.
Helnwein is the master of suprised recognition."
  - William S. Burroughs

"Gottfried Helnwein looks more like a rock star than an internationally acclaimed artist. Dressed all in black, with a bandanna around his head and dark glasses hiding his eyes, he resembles, in a superficial way, Bono. Like Bono, he is concerned about the most troubling issues of our times: violence, inhumanity and oppression. There is a cinematic quality to all of Helnwein's works, which seem to be projected on a wide screen. These "stilled cinematic moments," as Crocker curator Diana Daniels calls them, are powerfully affecting. "He deals with difficult subjects in a way that isn't propagandistic," Daniels said. "It's an open-ended way of dealing with historic subjects that are in danger of slipping away from us." Many of the images are very disturbing, and the museum has issued a warning that some images may be challenging for sensitive or younger viewers. But the show is a powerful one, posing questions we all need to contemplate."   The Disasters of War 10 2007 187 cm x 120 cm oil and acrylic on canvas In Memory of Francisco de Goya The Disasters of War 10 2007 187 cm x 120 cm oil and acrylic on canvas In Memory of Francisco de Goya The Disasters of War 10 2007 187 cm x 120 cm oil and acrylic on canvas In Memory of Francisco de Goya

Jacob Sutton

No photoshop, just an awesome camera!

Some experimenting with my canon g12 powershot!

It's not a dslr but it does the job!!

Martin Stavars.. the new love of my life :')

I NEED to do this....

i NEED to!!!!!

Amazing black and white photography! how does he do it though, high exposure??? wahh

a coffee painting on coffee stained paper of my cousins baby

although.. I'm still not happy with it..  only used dark coffee and then deepened dark colours further using a deep umber acrylic.
I found that even wetting the coffee stained paper would darken the page, so therefore I was left with alot of staining.. which I actually found more interesting from an artists point of view, however I am worried that a "normal" person would not perceive it so.
I wanted to use coffee, as it is just a homely substance, and the colouring is rustic and natural and almost aged looking, as opposed to your everyday acrylic paintings which are vibrating with sometimes uncomfortable colour, I wanted the eye to pass over the image of Jack undisturbed, as opposed to his image being violently thrown at your face like BAM!
so his face almost fades into the picture.
It sometimes reminds me of the brown inky animations that appear of the magic map of Hogwarts in Harry Potter.. they're watery nd unsure but flow nicely across the aged paper.
I'm not sure why I'm not happy with this image, perhaps I wanted to be a bit more creative and explore more with imagery, like the paintings below of the portraits blooming from flowers. Perhaps I wanted this portrait to bloom from something?

I will photocopy and experiment.. a passing idea I had was to paint Jacks portrait on the newspaper that was published the day he was born.
photocopy, as opposed to going through the pain staking process of creating a perfect face.. one wrong shadow and everything is ruined.
this is why coffee painting is so tempermental, if the water spreads more than intended the picture is tainted, but this in turn is why I liked it, that the mistakes contribute to creating a perfect picture.

Whats frustrating about showing a painting to family, is that they like to think that a painting should replicate real life, to which I posed the question; "WHY DONT YOU JUST FRAME THE FUCKING PICTURE THEN!!??"