Thursday, 29 April 2010

Piety of the Polychromer and the forebidden planet of the prostitute

The realistic quality of the polychrome sculpture and their visual presence in the 17th Century raised concerns within certain religious establishments. These concerns were observed through the sculptures relationship to the real and the possibility that the faithful might worship the sculpture itself, not what it represented.

"I see you"

Dutch: What's got Billy so spooked?
Sergeant Mac Eliot: Can't say, Major. Been actin' squirrelly all morning. That damned nose of his.... its weird.
Dutch: What is it? Billy? What the hell is wrong with you?
Billy: There's something in those trees.
Dutch: Do you see anything?
Billy: Up there ahead.
Dutch: Nothing. What do you think?
Billy: I guess it's nothing, Major

Sunday, 25 April 2010

Spectator driven

"I believe that the artist doesn't know what he does. I attach even more importance to the spectator than to the artist" - M. Duchamp

There is too much art to look at and generally there is not enough time to look at the stuff you want to look at. From this highway perspective art has to grab ones attention if only momentarily. The appearance of art in such times should therefore reflect the situation of its audiance.
The Gallery is a highway of images and art that knows its audience starts with presentation and work backwards.

Reality bites in the dentist theatre

Hazy Meadows: For a few moments as I awoke everything felt ok, then I remembered.

Saturday, 17 April 2010

It's the thought that counts......

Fake flowers in full colour, Hans Gremmen and Jaap Schereen, 2008-09
Interflora adjusted logo
Art is a gift - B. Reid
Making artwork that is informed by a technical process often seems far more relevant than the technical mastery of that process.

Cocooning Cartoraphy - a journey across a desktop

Got up went to the bank, did a bit of shopping, read the newspaper, looked at some art, chatted with a few friends then got out of the house for a bit.
See links below:
Also see Anatoly Zenkov's flickr page here

Sunday, 11 April 2010

Friday, 9 April 2010

Built to be seen

The Cartel, Ray Kinsella 2009, 3D Plaster Print - produced on a Z Corp Z printer

The model is an in between form, it shifts between disciplines
Ian Kiaer, 2009

Source: Ray Kinsella (Kevin Costner) in the 1989 movie Field of Dreams.

Ray Kinsella is part of Build it and they will come a collaborative project between Paul Laidler and Brendan Reid that refers to architectural practice within a fine art context. The work contains a series of four quotes that have architectural connotations and are printed using rapid prototyping technology to create 3D text-based objects. The 3D printing process is used as device to create a series of self-referential dialogues within the work.

The work:

Kinsella (a crop farmer) is walking through his crop field one evening where he here’s a voice uttering the words ‘If you build it, he will come’. After pondering the meaning of the words Kinsella decides to construct a baseball pitch in his cornfield, despite the financial risks to his farm and family. Not completely assured as to why he is making the pitch the compulsion to do so out ways any thoughts of purpose or economic return for the pitch.

The compulsion to make has many parallels with art and its intended function (to be received by an audience). Toward the end of the film the baseball pitch becomes an attraction as it is deemed that ‘people will come’. Ray Kinsella was the first text piece that started this project and similar to the situation of the charactor Ray Kinsella the work had no intended audience, it was just a feeling that something had to be realised. In this instance the realisation was due to the fact that for the idea to function as an artwork it had to be more than an idea. As an idea the words ‘built and they will come’ remained a solitary and silent voice. For the idea to be ‘heard’ the text requires audience participation, therefore the work refers to itself as an object for exhibition - to physically exist in a space where ‘people will come’.

Also see the work in the exhibition 3D 2D: Object and illusion in Print at Edinburgh Printmakers