Thursday, 19 November 2009
Tuesday, 3 November 2009
I continue to be obsessed with the work of several contemporary British artists and they all happen to be women.
um! so why is that?
I am particularly in raptures over Elaine Pamphilon's work..... have a look at her website! I'm just crazy about everything that she produces.....
a lot of the imagery she uses is based on St.Ives... and then much of her visual language echoes back to the work of Alfred Wallis, Ben Nicholson and Bryan Pearce.
the layers of colour and worn paint here are just 'yummy'!
this building was being restored, re-painted and the surface was being completely rubbed down, the painted layers that it exposed are delicious, I'd like to have a go at recreating this effect using paint and a couple of Brillo Pads....
Tuesday, 20 October 2009
... my students produce work that surprises me and images that are visually yummy ....
Monday, 3 August 2009
It was a so good
so beautiful to sit on the lawn with someone that is so familiar and to catch up on all the years that are passed... and for it to feel so comfortable, so natural, not forced, just lovely! I hope that I will find his sister again, she was so dear to me.....
and we fell out, about stupid things
I was young, naive, opinionated, insensitive and because of that I lost the love of a very dear person
I hope that I will find her again.... and sit on the grass and talk!
Tuesday, 14 July 2009
Friday, 10 July 2009
below is an extract from yesterday's Radio 4 'thought for the day', about Bill Viola's video installation in St.Paul's Cathedral.
some of the things said below shout from the page as profound truths..
" This is why, in my view, Bill Viola's artworks are entirely appropriate for the cathedral. For Viola does not feed the impatient ego, forever greedy for the next new experience or the next glittering distraction. Rather, his work takes its lead from the wisdom of contemplative prayer where many have discovered in the discipline of silence profound sources of human nourishment that can shape our lives. We are often only aware of these when we remove ourselves from the maelstrom of perpetual forward motion where the big questions of life are easily and conveniently dodged. And I wonder if - amidst all this current talk of regulating banks and financial controls - the very simple proposition that we ought to slow things down a bit might actually have a far greater impact on our destructive boom and bust philosophy than any government legislation could ever hope to have. "
copyright 2009 BBC - Giles Fraser
Sunday, 5 July 2009
Wednesday, 1 July 2009
Tuesday, 30 June 2009
I've been on a bit of a book spending spree recently..... Shhhhh! don't tell Steve...
anyway, one of them is this one containing the work of the Swedish Graphic designer/illustrator Olle Eksell. The work dates from the 30s right through to the late 80s although most of it is from the 50s and 60s.... its amazing! So many of the images could be used today and not look a bit out of place. Which I guess means that designers are re-visiting work from earlier in the century or he was before his time or his work has become classic and is surviving time.
have a look
do you like it?
Saturday, 27 June 2009
cool, aqua, water
layers of sound, on water
noise building through the day
people moving, talking, batheing,
cool, aqua, cool
Monday, 22 June 2009
There is still light in the sky.
It is a summer's evening and it is bedtime....
as I go upstairs and look out from the window, there is light on the horizon
there is a deep blush where the last light is kissing the land, and the day, 'goodnight'.
Monday 22nd June
I love summer, I love sunshine and I love light!
It is also very important for her to help people to reveal their own light, find their true and natural harmony. This is why she created a whole new method --with psychotherapist Nathalie Gouret-- whose aim is to help you understand who you are, know how to respect your inner being while respecting your body, wearing the right clothes.
Sunday, 21 June 2009
I constantly battle within myself with the concept of being 'an Artist'. I'm quite happy with the idea of being a creative person but being an 'artist' seems rarefied, somehow on a pedestal above others. Maybe I struggle with that because I do not possess that innate sense of my own deity that many artists appear to flaunt.
I reach a dead end at the point when I have put my work into a frame and I'm supposed to then take it to a gallery and ask them to take it and hang it on the wall. (Maybe it is easier to be Banksey and anonymously, leaving your work for others to experience without having to formalize anything.)
I've just been flicking through the pages of the design book 'Spoon', sitting on the bathroom floor whilst running the bath water on a Sunday morning. (bliss!)
Anyway I came across the page on 'Dunne and Raby'. That mental conversation in my head, the one that never stops, said "Well, what are they in here for, what have they designed?". I read a few lines, dismissed them finally and moved on.
And then something in what I had read brought me back to finish reading the article and it is one of those moments of epiphany where a penny drops and certain things begin to make sense.
Q - People when looking at your work tend to either 'praise' it as Art or 'dismiss' is as Art?
A - We think it is just research, exploring ideas about the way we live today in relation to technology. We use products, sometimes furniture, as our medium. It is interesting that people either dismiss it or praise it but it does not really effect the way we think of it.
Q - Most of your pieces seem to be more comments about things rather than designs for the things themselves. The table with the compasses or the GPS are not there as your proposition for a new design for a table so why insist on playing in the design field and not art?
A - Because if it becomes art it seems to be on the edges of everyday life, a special category of objects in galleries and museums. And even if the piece ends there, it is ot our intention, whereas if we present it as a design then we think people interpret it in a different way.
So, maybe this is part of the answer to my issues. Maybe I am not able to cope with the idea of me presenting a piece of 'Art' as final, complete, beyond contradiction (and I know that in reality Art is never really beyond contradiction- but it often sets itself up as that!)
Maybe I need to present my work, unframed, informally for the viewer/purchaser to make of it what they will?