Thursday, September 30, 2010
seeding scenery IV, 2009, Casein, resin, digital print on board, 30 x 28 3/4, leviathan II, 2009, Casein, resin, digital print on board, 86 x 88 (4 panels, detail), seeding scenery VI, 2009, Casein, resin, digital print on board, 30 x 28 3/4
loving the hard edge gridded graphics paired with airy painterly lines...see more here.
Wednesday, September 29, 2010
the marriage, 2009, acrylic paint, hand embroidery and beading on linen, 16x16, faith and doubt, acrylic paint, hand embroidery and beading on linen, 14x13, advance and retreat, acrylic paint, hand embroidery and beading on linen
i've been a long time fan of this artist's work and periodically google her name to see what she's up to, she never disappoints...see more here and here.
Tuesday, September 28, 2010
Woodlands, 2008, White and yellow pages from Singapore phonebooks, 35x26, Fougères, 2008, White and yellow pages from Swiss phonebooks, 35x26, Jubilee, 2008, White and yellow pages from Australian phonebooks, 12x12
I am exploring the concept of identity and mobility. For this work, I use phone books pages from countries I lived in, as they are the carrier of individual and collective traces. These intricate and detailed collages take the form of cultural references specific to the country from which the phonebooks were taken (e.g. a quilt as representative of America, aboriginal art for Australia, mosaic for Italy, lace making for Switzerland, circle for Singapore). The collages are the witnesses of my migrating life and the interactive relationship existing between individuals, places and memory.finally, someone has come up with a brilliant idea for our useless phonebooks!...see more here.
Monday, September 27, 2010
north african shadows, 2008, watercolor and gouache on pieced paper, 22x16, the occident and the orient, 2008, watercolor and gouache on pieced paper, 30x22, the bay of smoke, 2008, watercolor and gouache on pieced paper, 17x22
the only way to see this work is in person, the details are amazing! fortunately, his web site includes some really nice detail shots...see more here.
...The work involves two seemingly divergent elements: control and chance. Each sheet is first pierced repeatedly with a pin tool. The patterns create a system of levees, dams, and Braille-like raised surfaces that control the flow of the pigment. The paper then takes on a rich and varied topography. As the sheet dries, the pigment is repelled by hundreds or thousands of openings creating an elaborate patterns. Each sheet is then colonized or infested with a linear matrix.
My use of decorative lace as a painting support has evolved from many sources. The first being that its intricate patterns and shapes resemble the elegant tracery and stonework associated with cathedral design.
Lace has been a symbol of wealth and power in Europe for centuries. The art of pricking was used by lace makers as a way of transferring a pattern. The hand-made lace used in my work was common to my household as a child. Each piece comes with its own personal history, giving the work a distinctly feminine accent.
By then taking the perceived masculine activities – painting and building – I conjoin the two forms, creating a surface of visual, social and cultural tension. While both painting and building imply the heroic and autographic, the realization is that each edifice was built by thousands and took in some cases hundreds of years. The communal would triumph over the individual. The result is a structure as ornamental and anonymous as a simple piece of lace.
Friday, September 24, 2010
no matter where (not pictured here), 2008, oil and mixed media on linen, 60x72, everything, in your favor, 2006, oil and mixed media on linen, 60x72, i'll go if you go, 2008, oil and mixed media on linen, 60x72
My work has always been driven by a desire to embed concepts, interests, and critique into the material form of paintings. My work comes out of an interest in painting as a language in which invention, analysis, and the stuff of paint can work in concert with each other. These paintings feed off of the history of abstraction, physics, traditional eastern imagery, Chinese and Tibetan landscape motifs, digital imaging, and other sources. There is a constant flux between empty and full, atmospheric and graphic, abstract and figurative, quiet and psychedelic...
i'm such a huge gushing fan...see tons more work and the rest of the statement here.
Thursday, September 23, 2010
untitled (parallax), 2009, enamel pen, oil, spray paint on canvas on panel, 30x40, radar, 2008, enamel pen, oil, spray paint on canvas on panel, 30x40, untitled (cranes), 2008, enamel pen, oil, spray paint on canvas on panel, 30x40
i see these colored flags everywhere in the city, i love how this artist dynamically incorporates them as patterns in the landscape....see more here.
Wednesday, September 22, 2010
Poetry of Patterns, acrylic, graphite and chalk on paper, 30 x 45, Untitled #4, acrylic and graphite on panel, 12 x 12, Untitled #3, acrylic and graphite on panel , 12 x 8, Untitled #1, acrylic and graphite on panel , 12 x 8
Tuesday, September 21, 2010
skull 2, embroidered x-ray, waterproof watches, embroidered x-ray, necklace with bouquet, embroidered x-ray
i've seen many embroidered images and photographs, but these carry a savvy sense of humor and whimsy that i truly admire...see more here.
Monday, September 20, 2010
Tip, ink, graphite, colored pencil, gouache on paper, 48 x 38, Spin, ink, graphite, colored pencil, gouache on paper, 48 x 38, Dart, ink, graphite, colored pencil, gouache on paper, 48 x 38, Billow, ink, graphite, colored pencil, gouache on paper, 48 x 38
i will appreciate the beauty of the flower and then likewise, i will stand exhibitionistic, having the flower appreciate the beauty of me. and i think having an intimate 'love affair' with a flower is far more psychotic and riveting than having a love affair with some of the banal creatures of the human race. although i'd be into that too.you go, girl...and keep making this awesome work while you're at it!..see more here.
Friday, September 17, 2010
Untitled, 2010, acrylic on board, 18x24, Untitled, acrylic on board, 18x24, Untitled, 2010, acrylic on board, 18x24, Untitled, 2009, acrylic on board, 48x52, Untitled, 2010, acrylic on board, 48x60
bold interpretations of landscape, space, memory and time...see more here.
Thursday, September 16, 2010
Wednesday, September 15, 2010
Rhyme and Reason, 2005, screenprint, litho, relief, stencil, and collagraph, 22 1/4 x 34 3/4, Smoke and Mirrors, 2008, offset lithograph, ed. 40, diptych, 58 x 41, Je Ne Sais Quoi, 2010, etching, engraving, mezzotint and relief with chine colle, 14 3/4 x 11 3/4, Equal Distance, 2002, intaglio, relief print with chine colle, 23 1/2 x 35 1/4
loving the lines, ornament and narratives...see more here.
Tuesday, September 14, 2010
Monday, September 13, 2010
#59, 2005-2008, enamel, oil, plaster, tar, wax, 20diameter x 36, #51, 2005-2008, enamel, oil, plaster, tar, wax, 36x21.5x9.5, #45, 2002-2005, burlap, enamel, oil, plaster, resin, solvents, tar, wax, 20x25x25, #63, 2006-2010, burlap, enamel, oil, plaster, resin, tar, wax, wood, 45x40x24
i'm at a loss for words, what can one say about perfection?...see more here.