"πατάμε όποιον μας γουστάρει", ακουαρέλα,"αγνώστου"
Ξύλο σε καμβά,διαστάσεις μεγάλες, εδώ και μήνες
Δευτέρα 28 Φεβρουαρίου 2011
Πέμπτη 17 Φεβρουαρίου 2011
Πέμπτη 10 Φεβρουαρίου 2011
μια βαβέλ επέκεινα της γραμματικής ή αλλιώς,το μέλλον της τέχνης..
The Future of Art from KS12 on Vimeo.
πράξη βίας μπορεί να είναι και κάτι που δεν έχεις συνηθίσει να περιμένεις και αλλάζει ραγδαία .. μπορεί βία να είναι το θηλυκό του ίδιου του βίου.. αλλά κάθε παράβαση δεν σημαίνει και επανάσταση - εν προκειμένω στη τέχνη.
Κυριακή 6 Φεβρουαρίου 2011
τι θόρυβος..
(Brassai, Nude, 1933)
σε ακρότητες αντίστροφης προοπτικής διαστέλεται η κτήση στον έρωτα.
σπασμός που ταλαντεύεται στο εδώ σου - στο εκεί - αυταπάτη συνενοχής
σε μυστικά αιώνιας αντήχησης.
όσο σκωρία έλασης
άσπρου και μαύρου η άμεση ζωή.
.
Τρίτη 1 Φεβρουαρίου 2011
"deep water"..
(Ran Ortner, "Open Water #24," 2009. Winner of ArtPrize 2009, oil on canvas)
Ran Ortner working, "Open Water"
το παρακάτω κείμενο είναι απο μιά συνέντευξη του Ran Ortner, στο ArtPrize blog (http://blog.artprize.org/2010/04/21/what-happened-to-the-winner-of-artprize-2009/)
NJC: How do you approach a canvas?
RO: I have made a scientific, calculated, intense investigation into process because I want the full dynamic range of tools possible to facilitate what I do. I have found that one of the most useful sources of information in painting are the technical bulletins coming out of the National Gallery in London, as far as a real exploration of how paint layers develop and their optical effects. I make a lot of my own paints. Every color has its own life and its own possibility. What goes into a color and type of oil, how long that oil has been cured and what kinds of processes have been used to cure it, which oils dry faster and yellow less—all of these things are the range I work within. I want the lushness of Velasquez, the immediacy and tenderness of Rembrandt, and the contemporary now that lives in El Greco. I’m also terribly compelled by contemporary art. Joseph Bueys, Lucio Fontana, and James Turrell [for example]. But I don’t distinguish periods. I don’t see a difference.
.
RO: I have made a scientific, calculated, intense investigation into process because I want the full dynamic range of tools possible to facilitate what I do. I have found that one of the most useful sources of information in painting are the technical bulletins coming out of the National Gallery in London, as far as a real exploration of how paint layers develop and their optical effects. I make a lot of my own paints. Every color has its own life and its own possibility. What goes into a color and type of oil, how long that oil has been cured and what kinds of processes have been used to cure it, which oils dry faster and yellow less—all of these things are the range I work within. I want the lushness of Velasquez, the immediacy and tenderness of Rembrandt, and the contemporary now that lives in El Greco. I’m also terribly compelled by contemporary art. Joseph Bueys, Lucio Fontana, and James Turrell [for example]. But I don’t distinguish periods. I don’t see a difference.
.
(Deep Water no.1,oil on canvas, 6 x 24 ft, 2010)
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