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"..Why do I make art? When someone asks me about my art or what does it mean, I feel terrible awkward to respond. I am always in love or feel lonely; love, nostalgia, melancholia the need to create is part of my heartbeat. Words wouldn’t be enough to express these; the need to create is like a volcanic activity within my soul. Art is for me my way of letting this eruption surface and communicate what I feel, art is a friend that satisfies this desire of creation. I have always felt detached from reality and reluctance to involve myself in the normal working life, fitting in or making part of it because I am thinking all the time. I make art because there is nothing else’s that I like to do and that I could do to express myself. I have tried not to do art but that became painful, my mind has been heavy with ideas and thoughts since a very young age. I always feel separated from friends because my mind wonders from one thought to another; there isn’t much that I can do about this. Doing art for me gives me the opportunity to create and visualise my subconscious setting it free from the restrictions of my head. Observation of a place and its contents is essential for me to attempt to record its fleeting presence and meaning. I usually draw daily on location; I observe, register and assimilate the form of what I see. I seat down, kneel or stand until I am satisfied with what I have done. Drawing after drawing I build an ongoing visual diary of a place preserving each day’s experience. Like John Virtue my methods are similar, I became customised with the form of the subjects, the lines and the shapes become more fluid and less fragmented. Drawing on the spot fixes a structure for the size, shape and caracheter of the elements within my field of vision. It creates a framework, which supports an expressive tonal chiaroscuro. Perspective proportion and tone also become harmonised with etched lines and overworked dramatic contrast of white and black the narrative emerges. Memory and imagination also now becoming implicated; it’s like riding a bicycle the more you do it the easier it becomes not to fall. They are references, as points of departure for a process of an ongoing documentation of a reaction and reflection a summary and effect of an experiential action. Drawing peculiar dependency on a direct physical process, elevate to me its importance. This work on paper can be done anywhere at home on the studio; life drawing classes, on the train, waiting for a bus and what I need its very simple too. The biro and the paper can always be with me, in contrast other media such as painting, photography or even printmaking might have to be planned. This immediacy allows me to document what I see and find interesting as if it was a diary of life, a record of the ephemeral and the vernacular daily living. It works as a depository of memories that are personal and intimate. As well it is the authentic documentation present in the same piece of paper, its evolution, development exists in the same space. Its becoming it is apparent, relevant and sometimes unknown. Its freedom and process is the core of its existence. Its primal qualities are also conjured through the simplicity of its marks, any erasure or mistakes on its becoming will convey honesty and transparency of its process. The accident is part of the drawing like anything else’s, it’s the drawing in its pure sense and this is the honesty that I like. Drawing its my favourite thing to do because it is the result of a special kind of activity and even other processes such as intaglio, painting or etching do not offer such immediacy. Drawing is an exploratory and analytical process and embraces complex ways of looking at the subjects and that is sometimes a challenging exercise. Drawing is a focused and thoughtful process that engages me with the paper, subject matter and the mind. Thin lines, bold lines, forms, shapes and shading are all used within this context to build or materialise a thought or idea. From the diverse ways of doing that, another considerations can be made such as choices of papers. Those can be widely available to the diverse ray of thickness, roughness and scale where diverse marks that can be made, this media offers a versatile spectrum of possibilities depending on the artist ambitions. The acts of making the mark can also be very liberal, from wet to dry, concentrated or condensed the marks and materials are from an infinite list. This almost obsessive medium gets into the soul deeply, that happens when you are drawing it is almost like going in to a meditative state where the mind and the body are connected and express them selves by the line tone and mark made on the surface. Absorption or a withdrawing from anything else’s, the world becomes reduced to a piece of paper with its boundaries, edges and centre. Its line, mark, intimacy, informality, immediacy, memory and narrative are also symbolic characteristics that connect us to our ancestor. For me the making of the final piece isn’t necessarily important. The product might change and evolve until its finished it as not been started with the intention of having a final piece, but rather a physical interaction with materials. The doings and interaction with the object is my focus and preoccupation. The artefact is sometimes created by serendipity and its existence is sometimes casual. It works as a depository of memories that are personal and intimate. What I see and find interesting as if it was a diary of life, a record of the ephemeral and the vernacular daily living. “My practice is concerned with a process, a record of the ephemeral and the vernacular daily living. The resulting works are casual and yet engendered with a poetic sensibility.” “My practice is an exploratory and analytical process it embraces drawing, painting and printmaking as primary processes based media. Its usual for me to alternate from each other to borrow similar approaches and incorporate them in each other.” “For me the making of the final piece isn’t necessarily important. The doings and interaction with the object is my focus and preoccupation. The artefact is sometimes created by serendipity and its existence is sometimes casual.” My experience began at early age in school or at my family home were drawing was used by me to reinforce communication. At school drawing at an early age to express affection for a girl was one of my favourite things to do, not only for the immediacy of it but also for its elegance, concise message and expression of a meaningful personality. Reading a cowboy’s book or the old-fashioned Disney almanaque was again an excitement for its drawings quality and allowance to the wonder. At later stage my drawing evolved to express ideas and to make trivial plans through out my life until recently more complex and purpose intention demanded the use of different skills. Today, this development becomes part of my art daily life. My work could be defined thematically as Still Life using objects that exist or have been created for the use of the artist, for example mannequins, triangles, spheres, cubes, pencils and other studio materials. "
like a ray of sunshine by lorenza corpullis
Looking at this painting in that room made me imagine that behind the camera the artist and lover actually engaging in a real love scene of their own, in a kind of life reflecting art context (possibly minus the sea and mountains).
Café Improvisation #2 by Herminio R. Giménez
This is kind of interesting to me. From a distance it looks like a sepia wash drawing. As in other works of yours the extra layer of canvas glued to the backing canvas (or board) gives the image that haphazard, lived-in feeling. The thing I don't get is the coffee. Won't the colour of the coffee eventually fade and disappear? Why use coffee instead of paint? Then maybe the title is the key - Café Improvisation. It is, in fact, all about the coffee... [Goto..]
sedia rossa by Nù Metra
Don't know why but the environment of a long corridor lit from one side by a bank of windows giving onto closed rooms on the other, has always attracted me. Is it a cloister, a prison, a psychiatric ward? At any rate, whatever's going on in the rooms in this image seems ok to me. The red chair and warmth of the sun win over any threatening aspect the black ink might possess. Should Nú´s description of a space inside refer to her own internal space within, then there is much to discover here, according to this attractive painting. .. [Goto..]
Patience by Maria Xagorari
Thank you JP. Last time I checked it was hanging in a home in Athens. I hope they still enjoy it. They had also bought a painting I considered rather difficult. "The Furries or The Step". I hope they still enjoy that one too.
Dance for Life by Fadwa O
We need all the more in times like this paintings like this - the colourful exuberant escape of the joy of dancing. What's interesting about this work though is the seeming tint of sadness, loneliness and doubt that makes the title all the more beguiling. The two main figures are not in eye contact, both appear to be vaguely masked, with the face of the apparent male figure on the left deeply shadowed in almost a sinister way. She is green both in dress and skin and appears anything but happy, despite the sumptuous reds of the fan or flowers she cradles. In contrast to the sensuous riot of colour overall, the picture's effect, in my view, is one more of desperation than desire, of the surrender to less benign forces than of the defiance of wild abandon... [Goto..]
The title lesson. One shouldn’t give a title to the painting until it’s finished unless the name can be very long or neverending, like : “do you wanna build a snowman? I’m not really convinced I wanna as it’s turning into a snowman-saurus and more, but do I have to stick with it until the very end? . . . . ” and so on . . . . [GoTo..]
grazie grazie, e' strano mi ricorda qualcosa ma non so' cosa, non so quale artista. il disengo mi fa' pensare ad un clown, forse perche' ascoltavo charles mingus, suo album the Clown. Sara' questo il titolo? The clown "who tried to please people like most jazz musicians do, but whom nobody liked until he was dead"
Time to rotate... haha I know that well. I suppose it's an attempt to find a new way of looking at a piece that's already become too familiar, or a way to a lead that will get you out of that seeming impasse.
I don't think an artists should be removed from the site .I think the artist should have images that they remove from their page as the add more . They should be showing that they have a greater understanding of their own work by removing images. They should demonstrate that they have moved beyond some of their imagers , as they grow in their art process.
Of course my enthusiasm for Anthroposophy is based on practical experience of Steiner's ideas and new impulses.
Haha Flavius... nobody's come to this forum in the last 500 years! You risk awakening some old ghosts, like myself :o)
Has anyone here heard of Rudolf Steiner? He gave many new impulses in many areas. One of these areas is Art. He gave many lectures on art, he was a sculptor and painter too, among million other things. Here is a link where you can find many free books and lectures on art and other subjects: http://wn.rsarchive.org/Lectures/GA276/English/AP1964/ArtMis_index.html
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