Cercles by Fabienne Verdier
My blog is a 'mish mash' of things that take my fancy. Please just click on the images to go to their links, i've added them wherever possible. Enjoy x
May 11, 2013
May 11, 2013
May 11, 2013
“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.”
May 8, 2013
Alberto Giacometti, The Artist’s Mother (1950). MoMA, NYC.
Oil on canvas, 35 3/8 x 24” (89.9 x 61 cm)
“It was always disappointing to see that what I could really master in terms of form boiled down to so little.”—Alberto Giacometti
(via nearlya)
May 1, 2013
Jantina Peperkamp - Spiegeltje (self-portrait). Acrylic on wood panel, 15x21 cm
April 18, 2013
Gilles Balmet (b.1979, France)
Born in La Tronche, currently lives and works in Paris and Grenoble, Gilles Balmet is painter, drawer, filmmaker and photographer. He’s been recently focusing on works on paper and canvas, between abstraction and figuration, questionning the notion of landscape, the role of the viewer in image analysis, the notions of mastering and serendipity, of order and chaos, and the links between painting and photography. The series Silver mountains, a balance between abstraction and representations of landscapes, combines drawing, painting, chemical and physical reactions from opposite matters, movements and varied manipulations on papers.
Represented by Médiathèque Marguerite Duras @ Drawing Now 2013
[more Gilles Balmet]
(Source: artchipel)
April 12, 2013
GERHARD RICHTER
War Cut II -1/50
War Cut II -2/50
War Cut II -3/50
selected covers from War Cut II, a special edition of the artist’s book
War Cut showing details from Abstract Painting
Edition details: 50 copies signed, dated and numbered in Roman numerals in graphite pencil on the endpaper, also numbered in Roman numerals in felt-tip pen on the penultimate page; oil paint on book cover applied with squeegee by Richter.
you can see all of the covers on the WAR CUT microsite
December 3, 2012
ROY NACHUM
oil paintings from the blind series (from top to bottom)tears / free / hope / reality
November 28, 2012
The Miaz Brothers’ Blurry Painting Portraits
When you first look at the paintings by the Miaz brothers, it doesn’t seem like there is much to see. A blurry collection of colors forming an incoherent image. Everything seems far away and out of focus. But something draws you to look closer, perhaps the fact that you can’t immediately comprehend the paintings when you see them. Their lack of detail demands additional attention, and you find yourself scanning them again and again as you put together the larger picture. Colors and patterns begin to stand out, and details slowly emerge. That demand for closer inspection draws you in, and makes you closely examine a painting, that at first glance, seems almost empty.
http://beautifuldecay.com/2012/11/28/the-miaz-brothers-blurry-painting-portraits/
November 28, 2012
WINSTON CHMIELINSKI
Artist Winston Chmielinski - “A thought about paintings: potentially their backsides remain the same so that everything else can change, in full sight, chaotically, unabashedly honest in metaphor and biography–this brush stroke is how I’ve lived my life, one might say–inciting the Painted to proclaim its inverse existence, like a face with all its sensory orifices projecting instead of taking in, or a still-life commanding you to stand still and be seen”.
(via its-called-art)
November 20, 2012
Black Painting Nº 8, by Mark Rothko, 1964
These works mark a complete break with his colour field paintings of the 1950s, not only for their radically different deployment of colour. At first glance, these paintings may appear solid black. However, prolonged contemplation reveals the slow build-up of the surface through multiple layers and the close attention Rothko paid to gradations in tone and texture.
Rather than annihilating colour and light, the Black-Form paintings appear almost luminous as their surfaces absorb and reflect light. The paintings invite the viewer to look more closely, introducing an element of duration and physical self-awareness into the process of perception.
(Source: poetryconcrete, via fuckthereallife)
November 18, 2012
November 13, 2012
Christiane Vleugels - Bellator (2012)
Oil on canvas, 120 x 170cm.
August 31, 2012
Spanish artist Fernando Vicente painted on map sheets to compose this elegant series entitled “Atlas.”
August 21, 2012
CLAUDIU CÂNDEA’S ANATOMIES EXPOSED IN THE LIVING 1
We’ve all seen photographs of cadavers with the skin pulled back to see the anatomy or accidentally clicked on a medical tv show and see a birthing video but Claudiu Cândea’s beautifully drawn and incredibly grotesque drawings depict this in the figures of young girls, beautiful (and very alive) ladies laying about casually with their skin pulled back to reveal every muscle, vein, and organ. Disturbing? Yes. gorgeous artwork? Absolutely!
RSS feed: http://shinyslingback.tumblr.com/rss
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What (the fuck) makes someone a “best blogger”?
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Udo Hohenberger. Untitled, mixed media on canvas
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Udo Hohenberger. Untitled, mixed media on canvas
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work in progress
photos by Heidi -
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Commonalities.
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Anish Kapoor - Leviathan, 2011 | More posts
