Wednesday, October 26, 2011

New Paintings-Transfer the Visual Thing into an Action

title: <-
(I've decided to title paintings after marks that are in them)
This is acrylic on canvas, 200cmx 60cm


title: XXX
acrylic on canvas 200x80cm
These were inspired by the city and caligraphy. 



This is a quote from Phyllida Barlow. Lately I have been thinking about the approach she takes to her work. Repair-destruction-collapse-this is how our cities mutate every twenty years or more. 
"The urgency to get something done is very important in my work. I make work very quickly. I then need ages to understand what I’ve done., and that is an odd paradox. I’ve talked to a lot of other people who make work very quickly, and they almost don’t know what they’ve done. They don’t know where it’s come from. And that’s quite bewildering. And when I say that I don’t know what the subject is, I really don’t. Therefor there is an ongoing chase to find that.

And for some people who maybe get into art, and they may be driven the whole time through getting it right or observation, to suddenly to be given a completely new way of being an artist and recognizing how you might transfer that visual thing into something else-a physical action-is a real epiphany. And it certainly happened to me".
title Path acrylic on canvas 200 x 40 cm 

Tuesday, October 25, 2011

A Quote from Viola Frey

"If you make it (art) based on what is stylish, or acceptably good, then you have nowhere to take it".

Saturday, October 22, 2011

Some New Paintings

Untitled acrylic on linen 130x100cm

Untitled 100x60cm acrylic, spray paint on canvas 



Saturday, October 15, 2011

A Summary of September and October- Work

acrylic and ink on hahnemuhle paper 70x100cm untitled


These are the pieces my mentor thinks work the best. She wanted me to reintroduce color. At first I went a little wild, and had this brought to my attention.  Currently I am using three colors and  mixing them to get other tonalities. Using color has been a challenge after working in black and white. I began painting on paper, but am now working larger on linen primed with clear acrylic gel. My infuences come from architecture  building sites, surrounding industrial buildings, and using the paint. I discovered the sculptor Phyllida Barlow who also looks to architecture, but says it doesn't really matter.It is the use of the material that counts! Catrine wants me to pay attention to space and the way the shapes I am using relate to it. I have been working and experimenting alot, but have hit some dead ends.The only solution for that is to keep at it.
acrylic, ink, spray paint on canvas 50x40cm untitled
acrylic on linen 130x100cm untitled

acrylic, ink, spray paint, pastel on canvas 60x30cm untitled


acrylic on linen 100x130cm untitled
ink,spray paint on hahnemuhle paper, 60x100cm untitled

title:Colato di Cemento (Poured Cement) ink, spray paint on hahnemuhle paper  60x100cm

Friday, October 14, 2011

Venice Update

Anybody remember the REAL Swept Away, by Lina Wertmuller? This is the actress who played the starring role, Mariangela Melato. She's very well known here and does mostly theater. 

Also when the train pulled into the station the Orient Express was waiting to leave. Everyone on board looked very posh, and was sipping champagne at 11:00 am. 

I've never taken a gondola, because they are too expensive.  But, I discovered  the Tragetto Gondola that costs 50 cents to take you across to the other side so you can walk instead of using a vaporetto.

Back to the Biennale. This is part of the UK Padiglione, represented by Mike Nelson

Part of Mike Nelson's installation. Got a bit queezy maneuvering the space, but that was the point. It was like descending into hell.

Germany, or Germania in Italian-The Ger was replaced by EGO.  

Interesting 

This reminds me of Robert Bern's work from last residency. It has writing on it...

Film by German artist (need to look up names here-lost the documentation for Germany. Sorry!)

Uncomfortable Spaces or In a Tight Spot might be a better title for this years' Biennale, instead of the insipid Illuminations. Artists seem to be thinking about how problematic living has become for us all, old and young.

Christian Boltanski is a genius, but his piece especially fits into the pompous category. I like scaffolding as much as the next person, but this  over-use was unnecessary. When I walked into the exhibition space there were people climbing on it in order to  make repairs. That made it a bit more interesting.The pictures of newborns' faces running throughout, like a newspaper being printed were supposed to be moving in a loop. Even trying to describe the installation is tiresome, so I won't bother. Monsieur Blotanski, where is your refreshing poetic simplicity? Has fame gone to your head?



Impressions from the Venice Biennial

 Arriving in Venice is an emotional experience. I was wheeling my trolly behind a group of  college-age French girls and one, seeing the Piazza for the first time kept repeating, "Oh my god!" None of her friends paid any attention to her, but I appreciated her sensitivity.

The Biennial is enormous, with lots of splinter exhibitions throughout Venice, but the two main spaces are the Giardini and the Arsenale. Once you make it to the Giardini (I walked about an hour from my hotel) you buy a ticket and begin visiting the Padglioni. The first one on the right was the Swiss, with Crystal of Resistance, an installation by none other than superstar Thomas Hirschhorn. It was an incredible experience, and I told the guard that I'd seen enough and could leave now. He said that in the summer with the heat it was even more dramatic and people would lose their sense of space and have to be carried out on stretchers  (not really, but almost). Hirshorn is so messy, it is hard to believe he's Swiss! I spoke with a Swiss artist/art therapist and she agreed. Her non-artist travelling companion didn't get him, but we heart you, Thomas H!!!!


A partial view of Hirschhorn's work






Next was the Nordic Pavillion, no less spectacular! Andreas Eriksson and Fia Backstrom represent Sweeden. This is decidedly the most beautiful space, with trees growing in the middle, a requisite of what I consider a dream house. I got the listening device for Fia's piece and used it throughout the entire Biennale, since her installation is dispersed throughout.  Borderless Bastards is thought provoking and hits a nerve with anyone who has ever lived and worked outside of their native country. One woman artist's comments about how she felt  more aware of her emmigrant status in the UK after she became a mother and had to consciously make decisions about how she wanted to raise her child rang true.

Eriksson's work was not only visually pleasing, but thought provoking. The artist depicted nature as seen through his studio window with distortions of reflected light. The works refer to the place where they were created and the space where they are exhibited. This Pavillion was the least pompous of all. I felt throughout the Biennial it was a battle between the artists of being bigger and better. Typical Swedish understatement prevailed. These artists' works are refreshing, as well as  intellectually challenging.

Tuesday, October 11, 2011

Paintings by Canan Tolon





My mentor Catrine suggested I look at these paintings by Canan Tolon, originally from Istanbul. Tolon has a degree in architecture.

Monday, October 10, 2011

Venice Biennial


I just booked a train ticket to Venice for Wednesday.  I will take lots of pictures, especilly of work by Fia Backstrom and Francesco Bocchini. I'll be staying at the Hotel Tivoli for one night, because it takes two days to see everything. Last time my husband Lucio and I drove and he got the Stendal Syndrome after two hours of pavillion hopping, so I figure it's better to go alone."Meglio solo che mal accompagnato"(Better alone than with the wrong person). Wish my AIB friends (Leigh, Julie, Janna, Rita, Jason, Molly, Flannon, the two Jennifers, Jenna, Mandy, Kristin, Jason, Noelle, Andres, Ya, Nina, ect ) could be there with me.
 A change of scenery will be good and the weather is still nice.
ARRIVEDERCI

Friday, October 7, 2011

Moped Meltdown

Moped melter strikes again! For the second time  in a month on this block (in front of my studio) someone has torched a moped. The car is pretty fried too.



130x100cm Trying here to keep my colors limited.........

200x40cm Also limiting colors




Welcome to Trecella!

Same truck, all shiny and new. 

Play of light on green netting.

Tuesday, October 4, 2011

Some Sculpture by West from the 2007 Venice Biennale

Here is a photograph of sculpture by West from the 2007 Venice Biennale. It is papier maché!

Monday, October 3, 2011

Art Biennale 2011 - Franz West

Acrylic on Linen

130x90cm acrylic on linen

100x70cm Ecoline, graphite, acrylic spray paint 
The first painting is acrylic on linen. Just like with the painting on linen from last week, it was sized with transparent acrylic gel. Because of a tendency to over work, I am stopping when I feel like the paintings are "full". I didn't want to go over with other layers of shapes because the painting seems finished. Probably the fact that the ground is a color helps speed up the process. I like doing these one day paintings. It is an exercise in restraint.  I went a little wild with the spray paint on the work on paper, but the way the spray paint sticks to the Ecoline when it is slightly damp creates an interesting effect.