new idea!!!!!!!
i am off to work on the idea!
it involves objects coming from the walls, like wheels or cogs that have materialisted throught the wall.
Tuesday, 30 March 2010
Mario Merz
Feb. 26-Jun. 18, 1989
Mario Merz was the Italian artist's first major solo exhibition on the West Coast. Commissioned by MOCA to do a series of installations during a month-long residency, the artist created igloos and large-scale tables from local materials such as glass, neon, wax, and metal. The exhibition, curated by Mary Jane Jacob, was organized in collaboration with the Incontri Internazionali d'Arte, Rome.
When researching on my degree show space and how the paintings can provoke certain signifing meanings: i found Mario Merz. His igloo shapes that are made from a range of materials caused me to see them as half sphreres comeing from the ground.
This idea of a shape embedded in the groud surrounds the way in chich bubbles are formed within institutions. This bubble is firmly exiting the floor which signifies the point of bursting.
Another thought is the way the paintings will be visible. All the works will face outwards creating a surface of faces. The eyes all being closed seems like the anticpation of waitng for the bubble to POP!
I want to present two groups of paintings. The first is the 40 students all painted from small passport size photos. The second group is the 10 members of The Joy Collective of which I am apart of. They are painted from life, each member of Joy sat for a maximum of 3 hours. Some where completed in one hour.
These two groups: Student & Joy
Student becomes an object that is joined together by its structure. This object will reference the institution and the collection of people under its control. Joy will represent the collection but be guided by a contrast of design and form.
Such contrast:
point
small / big
volume
planes
light / dark
weak / strong
These contrasts will make the presentation of the paintings on the wall / space or none or both.
Feb. 26-Jun. 18, 1989
Mario Merz was the Italian artist's first major solo exhibition on the West Coast. Commissioned by MOCA to do a series of installations during a month-long residency, the artist created igloos and large-scale tables from local materials such as glass, neon, wax, and metal. The exhibition, curated by Mary Jane Jacob, was organized in collaboration with the Incontri Internazionali d'Arte, Rome.
When researching on my degree show space and how the paintings can provoke certain signifing meanings: i found Mario Merz. His igloo shapes that are made from a range of materials caused me to see them as half sphreres comeing from the ground.
This idea of a shape embedded in the groud surrounds the way in chich bubbles are formed within institutions. This bubble is firmly exiting the floor which signifies the point of bursting.
Another thought is the way the paintings will be visible. All the works will face outwards creating a surface of faces. The eyes all being closed seems like the anticpation of waitng for the bubble to POP!
I want to present two groups of paintings. The first is the 40 students all painted from small passport size photos. The second group is the 10 members of The Joy Collective of which I am apart of. They are painted from life, each member of Joy sat for a maximum of 3 hours. Some where completed in one hour.
These two groups: Student & Joy
Student becomes an object that is joined together by its structure. This object will reference the institution and the collection of people under its control. Joy will represent the collection but be guided by a contrast of design and form.
Such contrast:
point
small / big
volume
planes
light / dark
weak / strong
These contrasts will make the presentation of the paintings on the wall / space or none or both.
Wednesday, 10 March 2010
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Hieronymus Bosch 1450-1516 -The Bosch Revolution of 2001
http://images.google.co.uk/imgres?imgurl=http://rolfgross.dreamhosters.com/Bosch-Web-2005/Images/ThePedlar.jpg&imgrefurl=http://rolfgross.dreamhosters.com/Bosch-Web-2005/TheShorterBosch3.html&usg=__PavZFnv5IPYDDoCRV-EGprunz0k=&h=648&w=638&sz=86&hl=en&start=7&um=1&itbs=1&tbnid=wVM8sy2o8pIj2M:&tbnh=137&tbnw=135&prev=/images%3Fq%3Dtraditional%2Binstallation%2Bmethods%2Bof%2Bpaintings%2Btondo%26um%3D1%26hl%3Den%26safe%3Doff%26client%3Dfirefox-a%26hs%3DsF%26sa%3DN%26rls%3Dorg.mozilla:en-GB:official%26tbs%3Disch:1
http://rolfgross.dreamhosters.com/Bosch-Web-2005/TheShorterBosch3.html
Raphael
The circle is opulent. A eternal line of desire.
:
"most interested in the works of British Rococo and Romantic artist Thomas Gainsborough (1727-1788), the de Brécy Trust was established to take charge of his Old Master and Modern drawings, etchings, paintings and prints, making the benefactor's collection available for future generations to study. Vigorous research to authenticate the de Brécy Tondo as a work by Raphael continued for some 24 years."
ref http://arthistory.about.com/od/renaissanceart/l/bl_debrecy_tondo.htm
de Brécy Tondo,
15th-16th Centuries
Oil on canvas
Diam. 95 cm
© The de Brécy Trust
Andy Warhol
a traditional way of installing a large amount of portraits in a space. The portraits are viewed as if viewing mugshots or identity line ups. This instantly urges the viewer to question the individual, and surreptitious dialogue is formed.
The subject is passive and demands the viewer to force a relationship making the painting a dominant factor in creating narratives and connections.
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