Marker on paper, 30 x 32 inches
A field of dots made by placing a marker on a piece of paper and allowing the ink to bleed
Tom Friedman - Untitled (1990)
“The artist writes his signature repeatedly for the life of a pen.”
10PM. I know what I need and want on my birthday: a drafting table!
London-based painter Clare Chapman produces work that finds beguiling beauty in the dark and disturbing. Some of her subjects resemble the pus-filled pods or cocoons from which aliens and other horror film staples burst forth, others are more abstract, uncertain outlines in fleshy colours that unnerve without us quite knowing why. The ever-brilliant Brighten The Corners have just redesigned Clare’s website and by keeping the navigation nicely simple they have done a tremendous job at letting us viewers chart and enjoy Clare’s evolution as an artist over the past few years.
Vernon Fisher. Evidence of Houdini’s Return, 1994, Oil, blackboard slating, wood, mixed media on Board
study for a site specific, temporary installation at 1/12 scale
test 1 / site 1
37 equal piles of sea salt
2001 – Weaveair
duration of performance: 1h 30 min.
The laser beam that comes out of my mouth is reflected in the mirrors on my body, producing geometric forms. The intensity of the ambient lighting slowly oscillates between clarity and darkness. In the apex of clarity the public sees only my body and in darkness, only the geometric forms.
Fabienne Verdier: Flux
“I enter the surface of the canvas almost explosively.”
About Verdier’s work:
“Verdier paints on sheets of paper or canvases spread out on the floor. Her painting is vertical, playing with gravity, the weight of the paintbrush, the load of the ink and her body. Suspended between heaven and earth, the paintbrush is guided by spirit and hand, its handle at times hanging from over 10 meters of rope and held in place by a pair of bicycle handlebars. Her physical engagement is key: together with preparatory ascetic practice and “suchness” (the path of spontaneous expression), it forms the basis of Verdier’s work. Beyond this spontaneity of the stroke, the ink flow is also guided in producing the work, in particular in her very large formats. Verdier thus disengages from the rules of Chinese painting: she can go on. add to and rework the matter until she finds just the right form.”