Saturday, 30 January 2010


Tom Friedman, Untitled (Total), 2000 & Robert Lazzarini, Chair, 2000

"The core challenge of digital art is to establish the relevance of the physical space in relation to virtual space"
John Maeda

Objects conceived with their digital image space intact - that then occupy our (none virtual) environment have a disorientating effect upon our sophisticated visual senses. Interestingly the inclusion of the mediatory experience (printed or electronic) within an art object has to some degree warranted ones physical presence with a 'virtually real' situation. Without this physical and real time interaction the oscillation between real and virtual space is lost. Here the reproduction process provides nothing more than 2D collage.

Saturday, 23 January 2010

Prop Idol

P.Laidler 2010

"One is playing with the world referred to by the image and the other world which is the image itself"
Michael Craig Martin, Reading with Shoes

Many props are ordinary objects. However, a prop must read well from the house or on-screen, meaning it must look real to the audience. Many real objects are poorly adapted to the task of looking like themselves to an audience, due to their size, durability, or colour under bright lights, so some props are specially designed to look more like the actual item than the real object would look.

Object traces
Film props have an interesting presence as they are objects that are exceeded by their image. In drawing this kind of object 'the world referred to by the image' refers to yet another image world emanating from the object. What's interesting is the remnants of the object resides within the minimal two dimensional drawing of a three dimensional form.
See links in the image here.

Thursday, 21 January 2010

Print on Demand

A machine conceived for a single purpose
it knows no beginning nor end,
perpetually dormant and ubiquitous,
POD cannot and will not be stopped

Soon to be available near you.

Produced in appropriation with

Saturday, 9 January 2010

The Surface of Experience - staring Boo Bakker

Boo Ritson, The Air Hostess & Conrad Bakker, Commodity [Capital]

Paint becomes print and print becomes paint (the surface conceals and reveals). I have always experienced that the actuality of things is never how you expect them to be, whether this is a disappointment or a pleasant surprise the acknowledgement of the 'experience' is worth remembering. The inclusion of this occurrence within an artwork seems particularly poignant when print is used to disturb the surface - after all our original experience of artworks are often through its printed reproduction.

Crafted Words

"Competence in craft and technique frees the artist to make the broadest and most specific statement; but craft cannot be the end statement. The tinniest automobile is much better constructed than the best work of art"
Edward Higgins

"A medium need not sit in isolated purity. It has always been my contention that the first objective is to achieve a compelling image, and that aim demands a felicity in its implementation.......In accordance with my practice of setting no limits on subject matter, nor stylistic languages of expression, I see no virtue in circumscribing the technical means of realization. The image will always be more important than the rationale of its execution".
Richard Hamilton

"It is no longer necessary to know how to do something, but how to have something done.."
Victor Vasarely

"My belief in process is that if you follow it, it will take you somewhere. But it's not the process itself that is important. I'm not just displaying what the process does. If the process doesn't make something interesting, then throw out the process altogether or alter it by intervening somewhere in the process."
Chuck Close

"I only ever think of technologies in terms of what I want to do with them and how I want something to look ....... I have to say I have limited interest in techniques I'm only interested in how they serve me"
Michael Craig Martin

"I don't think I would say a certain image asks for a certain technique. The mind can work in such a way that the image and technique come as one thought, or possibly one might say there is no thought. One works without thinking how to work"
Jasper Johns

"The manner of painting and materials used seem expendable to me just as long as they serve the idea"
James Rosenquist