Me, my art, and my travel.
Tuesday, 23 October 2012
Lee Jeffries
Lee Jeffries is a photographer from Manchester. He used to make sports photographs until he encountered a young, homeless girl. This changed his perception on both homeless people and his own photography. Ever since the homeless are the subject of his art.
Monday, 22 October 2012
Wednesday, 17 October 2012
kevin cosgrove
"The source material comes from stuff that I get from home. And the
work... I don't know how to start explaining it... they're generally
interiors, workshops and workspaces, cabinet-making, motorbikes and
boats, things like that."
"Em... yeah... I'll name them quickly, otherwise I'll start rambling and they'll get lost. There's ideas about labour, about someone who does a job and they stick with it. In this painting, there's a tractor in a workshop, and the tractor's going to be fixed and the next day there'll be something else there. It's about starting again in a duty, a dedication to task. Another thing would be ideas about technique and craft, learning from doing -- that's how painters operate anyway, so a lot of the themes are to do with me working on it, the things I think about as I apply paint, as I try and form a light falling on a curved object. In the end, it's about the emotional and logical being intertwined."
Cosgrove though, doesn't seem to have a personal connection with the labours he dipicts. Carperntry and joinery work is what I aim for, as its home to me, and that i am used to looking at the hard labour in a mundane light,,. this way, I seek to alienate it to myself, to look at it through a glass with different eyes, but to also show the viewers how this is personal to me, that I am familiar, with the sights and sounds.
I aim to make vidoes, and paints. But unlike cosgrove I want the paintings to look more laboured, to look rough and worn down, just as the sand paper. I do not want an exact replica of a photo I take, I want more depth in the painting.
"Em... yeah... I'll name them quickly, otherwise I'll start rambling and they'll get lost. There's ideas about labour, about someone who does a job and they stick with it. In this painting, there's a tractor in a workshop, and the tractor's going to be fixed and the next day there'll be something else there. It's about starting again in a duty, a dedication to task. Another thing would be ideas about technique and craft, learning from doing -- that's how painters operate anyway, so a lot of the themes are to do with me working on it, the things I think about as I apply paint, as I try and form a light falling on a curved object. In the end, it's about the emotional and logical being intertwined."
Cosgrove though, doesn't seem to have a personal connection with the labours he dipicts. Carperntry and joinery work is what I aim for, as its home to me, and that i am used to looking at the hard labour in a mundane light,,. this way, I seek to alienate it to myself, to look at it through a glass with different eyes, but to also show the viewers how this is personal to me, that I am familiar, with the sights and sounds.
I aim to make vidoes, and paints. But unlike cosgrove I want the paintings to look more laboured, to look rough and worn down, just as the sand paper. I do not want an exact replica of a photo I take, I want more depth in the painting.
Uri Aran
My project is now based on hard work and labour, and must be incorerated into the method of which i work in, and in the look of the piece itself. as My project is based on worn down sand paper, the work that went into wearing it down must be recognised and acknowledged in my own works, as this is what inspired me
Now i look into the hard work a joiner does in order to wear down the sand paper, and state in which his hands are from manual labour, and the conditions in which he works.
I feel that this must all be taken into account when i make my pieces, and a certain amount of manual labor must be incorperated also.
this artist, Uni Aran's work reminded me of the work top int he joinery shed, although his work is about an entirely different subject!
Uri Aran’s recent solo exhibition at Rivington Arms, New York, closed the gallery. Titled Geraniums,
it exemplified his corrupted approach to materials, structures and
narratives. His early films are manipulative depictions of
sentimentality. His recent tabletop works are hopeless and imperfect. As
he puts it in the title of his 2006 graphite drawing: ‘In a milk
drinking contest it is OK to have one of the contenders drink chocolate
milk.'
Born in Israel in 1977, Aran is part of a new generation of Israeli artists who exhibit a deep skepticism about questions of identity, sentimentality and the ways in which we create images of desire. The work is torn between narratives of longing and displacement. Often deploying a combination of dry narrative and lush imagery, Aran’s video-work is undermined by his own constructions, which can be read as devastated landscapes where a loss of logic mirrors the sense of a set of promises that are currently unfulfilled.
Now i look into the hard work a joiner does in order to wear down the sand paper, and state in which his hands are from manual labour, and the conditions in which he works.
I feel that this must all be taken into account when i make my pieces, and a certain amount of manual labor must be incorperated also.
this artist, Uni Aran's work reminded me of the work top int he joinery shed, although his work is about an entirely different subject!
Born in Israel in 1977, Aran is part of a new generation of Israeli artists who exhibit a deep skepticism about questions of identity, sentimentality and the ways in which we create images of desire. The work is torn between narratives of longing and displacement. Often deploying a combination of dry narrative and lush imagery, Aran’s video-work is undermined by his own constructions, which can be read as devastated landscapes where a loss of logic mirrors the sense of a set of promises that are currently unfulfilled.
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