A last minute entry to this exhibition, somewhat quirky. It needed to be the size of an LP record. So I reappropriate a piece of my own work, update it, add some seasonal sparkle. A tad lazy. But would you expect otherwise? Outside the frame. So Katie whose curating looks at it as such. Now it’s received a new name, thanks to #LenFour-o at http://www.44ad.net/ 44AD; renamed Howard the Owl, remembering Howard Hodgkin!
W,hat an experience, so much seen it’s overwhelming and now to reflect and think through.
From pylidda Barlow in the British pavilion, outstretched into every corner and space with colour and structure, fragile yet strong
Never been to Venice before so working out directions or more often following others. The shear volume of pavilions and indeed artworks at the main sites of Gardini and Arsenale, both with all the different countries pavilion. Highlights are many, so I can only give an impression, a snapsho, gosh this whole business of camera phones means that I collect all these images , the battery runs out and there is a blank space, what is the art!
Whether it is Ireland’s Jesse jones ‘tremble tremble ‘ an archaic witch figure requesting a transformation of history, or Russia with grey and white visions of totalitarian states, always a duality in both context and agenda.
Then the individual selected artists in the Arsenal, wonderful to find favourites like Kiki Smith with her light effemeral line, of female form questioning asking,new discoveries too, the work of Zilia Sanchez, a Cuban artist working away all her life it sounds like Phyllida Barlow suddenly rising to prominence in her late 80s. Or Damian Hirst answering his own questions about the art market with a huge monstrous structures of a fictitious treasure trove, that never was, and the finds that never could have been blazed, occasionally beautiful but undoubtedly questioning art.
And then the find of ‘Intuition’ at the museso fortunay http://fortuny.visitmuve.it/en/mostre-en/mostre-in-corso-en/intuition-exhibition/2017/04/17284/intuition-fortuny/ masterpieces hidden away against Fotunay stage sets. Cy Twombly, Picasso, Joseph beuys, the suggestions of Japanese art, names I don’t know
Back at Bath Spa again for the final part of my 3rd year of the Fine Art degree.
A dissertation to write and a presentation & new website to construct for Professional Practice.
Had a very art based weekend,
- Friday at Frieze Art Show
- Saturday morning stewarding at Black Swan Gallery in my nearly new home town of Frome. the amazing show by Gladys Paulus is just so evocative I will continue to tell everyone about. felt costume images of her family history
- Saturday evening at the PV for Wells contemporary art show WAC entitled Rewind Its basically a review of the recent winners of the competition following the death of Kate Noble who was a leader in its inception.
Where will my own art work feature in what I am doing as the Studio practice element of the degree is now complete.
To some extent there is a relief that I can just take sometime to consolidate without having to constantly put everything out there for scrutiny
Well practically all I have done re my own work is begun to create a new white base layer on a collage I completed sometime ago. and from here?
Well that’s part of my studio space as it stands at the moment . Better late than never!, This newish piece are the my 3 right feet, reflecting both the reality of the imperfection that comes with ageing, and issues surrounding coordination, in the studio this stands above and some work I’ve been trying with different grounds with added texture and a moving figure, you will see this later.
There’s so many fun comments coming from the idea of 3 right feet, thanks Gary Corbett for the yard one! I had thought I’ve got 2 left feet why not 3 right ones!
Also thanks to Ra about compliment re moving figure on yellow! But as I said you will see that later.
I also love colour, so the white background is a bit different for me, I’m naturally drawn to colour and the experience of vibrancy in everything I do. But humour will survice for now.
After a number of months wishing to get to this exhibition I made it last week! On Maria Lassnig a Painting Survey, 1950 – 2007. This has been touring internationally for a number years.
It demonstaed how her work progressed, She started working abstractly in geometric form, and there were examples of abstract monotone work in the 1950s. Thereafter moving to colour and then the transformation into paintings focused on how she focused her own body experience . Her work has been compared to that of the surrealists. Her education was interrupted by the war and I am unclear quite what happened to her artistic and other education with the annexation of Austria. I would assume neither her abstract or figuration would fit with acceptability of the Nazi era
A description of her work from Hauser and Wirth in the gallery in which ‘she captured physical sensation as felt from within. Lassnig devoted much of her career to recording her physiological states through a direct and unflinching style, believing that truth resides in the emotions produced within the physical shell.’
A quotation from the artist displayed in the exhibition perhaps are art work itself ‘I stand as it were, nude in front of the canvas, without intention, without plans, without a model, without photography, and let things take shape. But I have a starting point which arose from the realisation that the only truly real things are my own sensations, which transpire within the house of my body; they’re psychological, the sensations of pressure when sitting and reclining, of tensions and spatial extension- such things are rather difficult to depict.
Frequently used animals perhaps a frog where one might see a human limb emerge.
Fascinating to introduce another who has no knowledge of her visceral work
As I am working through various options for series paintings /pastels my images are becoming lighter, it feels more ethereal, making suggestions rather than statements.
So although the previous ones have been about the body these pick up on lines marks on the jezzo or canvas giving a very different feel, and is very much something I have not done before. Its also interesting to me that with the previous blog about imperfection there were errors in making, here there were not really errors at all but using natural blemishes and thus a connection to skin.
I struggle with mistakes.
Not mistakes in the art but mistakes in getting the canvas corners right like I would with wrapping presents at Christmas1
With print which has almost resulted in the technicians giving up with getting me independent
Forgetting processes almost more than the art itself which I’m feeling quite positive about
So maybe my practical mistakes which always get worse and I get more worried about them sould become part of the art itself.
I have created these 6 boards out of a body drawing featuring different angles and different body views and of course I could not get the hanging straight! There are lots of holes in the pristine white wall, chipped away the plaster too in one place. O viv!
I have been looking at the wonderful drawing and sculpture of artist Kiki Smith, fascinated that she starts with medically correct perspective, viscerally she elongates and distorts the body on occasions, in Other Worlds Baltic exhibition she was placed alongside Nancy Spero’s prints which their social and political comment alongside the 60s onwards with text and figurative art based on trace rather than actual body form.
I am beginning to think my work on aging bodies is more about the internal experience of being in the body rather than external.
So perhaps distortions, mistakes, not getting it right fit well together!
Update When i returned to my studios space yesterday some kind soul had straightened the lower picture and put in level screws rectified my mistake!
An interesting quote from John Ruskin