s3892358, RMIT - I acknowledge the Wurundjeri people of the Kulin Nations as the traditional owners of the land on which I am visiting, where RMIT stands. I pay my respects to their Elders, past and present, and the Aboriginal Elders of other communities who may be here today.
Acceptance, Oil on canvas, 60 x 50 cm, Nick Pont, 2023
Nick Pont is an Australian painter who creates large scale oil paintings, with a lyrical quality that is like witnessing an inner springtime. These scenes of elongated and expressive forms, are depicted with soft brush strokes, that are like whispers of the wind. Visuals stemming from nature include rays of sunshine and flowers, depicted with an essence recalling outsider art’s charming and heartfelt qualities. The works are depicted in saturated tones combined with muddy pigments of earthy palettes. This contrasting combination has a warmly intimate feelings of fondness felt inside of homes. These include luminously bright tones of lime green, strobe light yellows, navy greens, and dark muddy rouges. The harmoniously echoing wave forms, show a range of tones in shaking forms, liked weaved materials coming apart in the air, revealing a feeling that is fondly recalled to audiences. The influence of zen meditation and discourse resonates with his visually ignited reflections in response to their suggestive resonance with him.
As I looked at these I consider what frames I should visually present to the world, that show fondness, in a warm toy intimate form that feels like stepping into a home. What visually equates feelings of fondness to audiences? Why? What leaves them with these feelings in expressive forms, that resonate? What culturally inspired visuals from engulfing in words, like Zen meditation has inspired Pont? Where are the words for what time in a person’s life, to visually evoke, and where should a person go when the time for some words is done and another phase is opening?
Nick Pont is an artist based in Australia. His practice is centred around painting and drawing.
Jeffrey Chong Wang, Death Frame, 2021. Oil on Canvas, cm. 24x30
Jeffrey Chong Wang (汪翀) depicts figures on canvas theatrically staged, with sarcastically blank expressions of nonchalant indifference. Jeffery lived in Canada from 1999, and was born in China. These portraits are like scenes from dramas, showing exaggerated scenes, in a pale color palette. Jeffery covers the canvas with the classical oil painting techniques of traditional western painting, showing an Eastern perspective within the imagery. This fusion reflects Jeffery’s lived experiences combining Canada and China. With a range of references to historical and cultural periods of interest, the works are presented as an assemblage of references, that affected the artist’s inner workings. I find his works to personally resonate with my feelings of the relics of the past that affect what is cross cultural between English speaking nations and various parts of China, and Asia as a whole.
I question in response about contemporary relationships with the prior, present, and what visually resonates as darkly humorous. What engulfs with visual parody, in visually appealing forms that are enjoyable to lounge next to for hours, amused? Why? How long does this feeling last, and where are these types of paintings best meant to be presented, displayed and stored?
Körper, Wasser, Licht und Bergwelt (Body, water, light and mountain scenery), Andriu Deplazes, 2023, Ink and oil on paper
Andriu Deplazes’ paintings luminous paintings have a dream like quality, that is aglow. Born 1993 in Zürich, Deplazes went on to graduate with a fine arts degree from the Zürcher Hochschule der Künste. Deplazes depicts portraits of people in pensive poses, with shades of humorous throughout. What appears odd shows layers of meaning when inspected further, cultural and historical reference become apparent, as a part of the artist’s intentions. Deplazes works often feature nature in luminously over saturated colors, with watery elements and exaggerated features that are emotionally expressive. A tender feeling is combined with a nostalgic warmth, within the bright red and plum infused works. I find his work to show an intimate affection expressed for the old, like I have glimpsed portraits of his visiting an uncle that lives in rural region. These resulted in me considering what has a sense of vibrancy, when showing the rustic, and aged by years of existence. I considered in response, when the strange, from years of being around, has a fond feeling surrounding it.
The vivid array of vibrant colors, and relationship with the depiction of those that are older, has caused me to consider what people I depict, and the color scape linked. What materials, textures, and colors has a luminous feeling, and why? How long does this feeling resonate for?
Andriu Deplazes Exhibitions: Work on Paper, Andriu Deplazes, Kubra Khademi, Yehudit Sasportas and Uwe WittwerGalerie Peter Kilchmann, Rämist
‘Chi, Energy of Harmony’ by Solala Towler brief piece of literature summarizes Taoist concepts into key points. It passes on insights in a quick and straightforward manner, that is suggestive. Concepts of harmony, balance of yin and yang, tranquility, seated breathing to find inner peace, and how to rejuvenate the mind are expressed. Lao Tzu’s idea of settling the mind, by sitting and finding inner focus, I think is immensely insightful for his to sift through ideas. With so much turbulence within and in the external world, finding brief or long moments to do this, is very enjoyable. I enjoy doing this outdoors, while appreciating nature.
I am considering how harmonization of chi (energy) translates into modern life, to utilize practice time and space in a contemporary and effective manner. What should I calm? What should I energize to have greater clarity?
What binaries of yin and yang keep a constant harmony regenerating from symbiotic relationships? What words take these concepts into other spaces, like binary?
Reduction of stress can make a huge difference in performance art, and practice. I am considering the world’s insights, for how to improve and achieve aims.
‘Darren Waterston: Representing the Invisible’ is a collection of essays by David Pagel and Jacquelynn Baas, and a conversation with Timothy Anglin Burgard.
Darren Waterston is an American painter, born in California, 1965. Waterston attended Otis to receive a BFA. Waterston is now based in New York. This was before studying at Akademie der Kunst in Berlin, and Germany and Fachhochschule für Kunst.
Darren Waterston's somber, organic forms that make geographic reference, noting fertility and decomposition, with recent notes of erotic sensuality. An investigation into the internal with the beautiful and profane compiled and collaborated form, is evident. Within the symbolic abstracts Waterston generates, dreamscape emerge and engulf. Color tones feature night skies, mist, and rouges of blood. Layers of forms feature bubbles, and a wet quality.
I consider what organic forms of flowers, trees, anatomy, and language describing, can result in visceral visual works. What can I present, exploring the external world and when generating my own symbolic, and expressive abstractions? I have considered this, and the deconstruction of forms into abstraction in reaction to Waterston’s work for a long duration.
New York-based artist Darren Waterston is known for his ethereal paintings and immersive installations, notably including Filthy Lucre at th
The Hazara are a group of people from Afghanistan, that have suffered genocide as a result of the Taliban and Islamic divisions. Many have moved to Australia, as refugees. Exploring Victoria, I learned of this, and discovered this set of songs. The music features dance ability and rhythmic structure. I am considering these sounds, and how I relate to the contemporary developments in the world, and what I generate and experiment with.
Play Hazara Music on SoundCloud and discover followers on SoundCloud | Stream tracks, albums, playlists on desktop and mobile.
Hazaras are of Central Asian and Mongolian descent, connected to Genghis Khan’s take over of Afghanistan in the 13th century. Hazaragi is a Persian dialect evident in Afghanistan.
Hazarat is also the home to significant Buddhist sites, that have been damaged by the Taliban. The Buddhas of Bamiyan, which were massive statues carved into the walls of a cliff in Bamyan valley, exhibiting the influence Gandhara art. These were destroyed as a result of terrorism.
One of the Bamiyan Buddhas before it was destroyed in 2001. De Agostini Picture Library / Getty Images file
Greco-Buddhism flourished in Hazarat, leading to the transformation of it within its transmissions to Tibet, China and Japan. These all have had a profound influence on me, as visually and philosophically informative. I really have appreciated the combination of Epicurus in particular, when it comes to Greco influences on Buddhism.
Six people killed during a night raid on a family home in Ghor province, including a 12-year-old girl Ongoing Taliban killings indicate a pa
This study examines a set of unique isolated lived-experiences to offer some general observations concerning Afghan-Hazara migration, reloca
‘Art in Motion, Animation Aesthetics’ by Maureen Furniss, presents an array of animation techniques, for innovative and experimental approaches to filmmaking. The piece also features information about the history of animation, and alternative approaches to generating cinematic works.
The book describes various techniques for animation. These include direct animation (‘drawing-on-film' or 'scratch animation’), which is where drawing on the surface of film results in affected strips of cinema. Alternative approaches to collage, where cut outs are used to generate animation, are also described within the book. Descriptions of celluloid, paper, and other materials suggest thinking about transparency and alternative materiality. Strata-cut clay animation approached with wax is also detailed. These techniques are pooled together within the outline of mise-en-scéne, being important.
I am considering new approaches and materials I can utilize when approaching animation. What can these symbolically suggest, and make appeasing sensory references to?
Dreaming and Walk About, as Conceptual Suggestions
Aboriginal painting in general feature symbolic language, that uses abstract geometric arrangements and colors to communicate a set of storylines. This has shared qualities with abstract expressionism, in practice. The expressive qualities of landscape can overlap with this, linking to the thought patterns of aboriginal art that references nature. When artists create their own language as individuals the expression and circumstance is different from a shared visual set of representations in an abstracted form. This is typically informed by the collective use of a symbolic shapes, linked to distinct cultural ethnicities and groups, where telling a story can be utilized to communicate in abstract. When singular artists do this, it can distance them, and summarize their thoughts about a set of conditions. This can generate a space from the initial set of complex ideas, and give them clarity, and a safe space to express and experiment in a time frame.
When I consider aboriginal, American and European use of abstraction, symbolism, expressionism, and the cultural reactions to creative approach, post conflict. I am considering how these have be applied to approach scenarios in a form that makes beauty flourish, after suffering has occurred. These circumstances often find kinship from what is shared, with different views and backgrounds resulting in renewed interests. What art allows a person to cultivate moving away from prior discrimination, and cruelty is linked also with what appeases. When it allows them to move on and function, thanks to patronage of creativity, that results in clarity and summary. I think government patronage is often linked to apology and wanting to generate a creative economy for the sake of a people having beautiful lifespans, making a collective region flourish.
The dreaming (dreamtime) and walk about as concepts, I feel suggest escape into imagined spaces, creation storytelling, travelogues linked to coming of age, alternative social experiences, and journeys into nature, rejecting urban constructs well. What is created when you dream, is suggested by the words chosen to describe ideas.
As I consider this, my childhood experience with what was presented in Australias as advocation of aboriginal began to become a tourist experience but was not yet federally recognized with a flag, tells me of developmental time periods of rebellion and solidification, within cultural progression and what that means for artistic expression by different groups.
What the concept of dreaming and dreamtime is to traditional ideas, is different from the suggestions to invent one’s own dreams and narrative to guide them on a journey. Yet I find the suggestion, and abstraction to be really useful, conceptually.
What origin story for the beginning of an adventure or season, may take a person away from bothersome issues? What of how life is suggested as originating, perceived as metaphorical, might be suggestive for fictional concepts? What can I dream of creating?
What should I make as a travelogue, as a result? What journeys for coming of age endanger, and what are fun despite isolation from a prior construct? When does this make things worse and when does it make things better, when we are really honest with ourselves? What travelogues flourish? What goes wrong when we do not go about these experiential tasks with an open mind that is not overbearing about the parentally inherited circumstance of others? But treat in various forms? What should I story tell with abstraction? How do I relate as a visitor?
When is a walkabout like retreating into nature, after studying or working for another? Considering the dynamic of this within Chinese landscape, what is coming of age and linked as a pattern for post grads, and those that travel to generate and complete tasks? How do residences and art tours compare to temporary mobility, where aboriginal communities engage in brief residence? How does this link with temporary autonomous zones (TAZ) and experimental spaces with temporal structures?
When absorbing aboriginal ideas, presented as a part of the tapestry that is Australia, I am considering what is inspiring or suggestive.
Information about the very misunderstood Aboriginal Dreamtime, what it is and what it means to the Australian Aboriginal people.
Paristan (پریستان) and Escaping Into the Landscape
Paristan (Peristan or Pariestan (پریستان Pariyestân, Peristân, "Land of the Peris”; also Koh-i-Qaf or Qafkuh) is home to fairies in Persian folklore. The chapter ‘The Middle Eastern World’s Contribution to Fairy-Tale History’ within ‘The Fairy Tale World’ by Ulrich Marzolph, describes these fairies. Adopted into wider Middle Eastern literature, the spread of islam brought the folklore of these benevolent fairies called peris (paree; پری). They embody an imagined landscape, consider to be like fairyland (elfame). Paristan is described as being like the Caucasus Mountains, with legendary ranges described. I have found these to inspire my own ideas about imagined spaces, and landscape to dream of, and generate a range of euphoric spaces within. The suggestion of a secret door, like like a sister city in my head, invites the idea of a hidden fairy door, to escape into places like fairylands, in the manner in which Zen monks did painting landscapes. The act of seeking out actual sights, connects this to how there are claims of fairyland being in the Caucasus Mountains, and the actives Chinese and en plein air asks for artists to engagement with, where they visit and observe real places for impressions, and then project what of their experiences they with to express.
Zen Landscape (suibokuga; 水墨画 and sumi-e; 墨絵), Chinese landscape (shanshui; 山水), and American artists often seek to escape to another place within the world they depicted. Chinese landscape painters sough to reject service for the government, and retreat into nature. During the Song Dynasty (960-1279), Jing Hao identified six essential characteristic of painting were identified to be associated with nature as: breath, rhythm, spirit, scene, brush and ink. In the 13th century, Zen painters imagined landscapes, that were often China, which they would retreat to within communities of Buddhist artists. American landscape has often been practiced in a Chinese format, where those who have tired of service to a government, culture, mindset, or urban environment, retreat into the natural world. The American dynamic is also influenced by plein air, with artists often working outside. Landscape can be an expression, or an impression, that can merge the internal and external, perceived and projected. Symbolism, surrealism, and other approaches are all of interest to me, in the cultivation of new approaches, perspectives and ideas about landscapes.
"Kazbegi", Panoramic view of Mount Kazbek (Mqinvartsveri) range, Caucasus, Georgia, 2019
Zhang Daqian, Lake Tai, mounted and framed, ink and colour on paper, 64.5 x 95 cm. 25 3/8 x 37 3/8 in, sold 2020
The Poppy Field near Argenteuil, 1873, Claude Monet
Red Shoes fairy door, Ann Arbor, Dwight Burdette, 2011
There is a place called Pogal and Paristan/ sometimes written as Peristan as well. Pogal and Peristan are both Rivers and they together give
Painting was no longer about the description of the visible world; it became a means of conveying the inner landscape of the artist’s
Christie's specialist offers insights into his life and career, from his brilliance as an innovator and forger to his restless globetrotting
Plein-air painting, in its strictest sense, the practice of painting landscape pictures out-of-doors; more loosely, the achievement of an in
Event award for the Fairywalk 2011. “If there are fairy doors, there must be fairies.” As I put the finishing touches on the 5K
Worries about proliferating fairy doors in Somerset’s Wayford Woods are misplaced. A sense of wonder can only be healthy for children and ad
Female Tumbler 1800–1830, Iranian (Qajar dynasty), Victoria and Albert Museum
The Qajar Dynasty (دودمان قاجار) lasted from 1781 to 1925, within Iran. As turmoil of the 18th century came to a close, arts were celebrated as a way of life during a time of peace in Iran. European realism played a role in influencing the artistic development within the region. As a result, oil portraits featured thick use of paint in dark hues, with rich and saturated colors being the palette of Qajar paintings. These also feature a flat surface, with gloss and matte finishes. Idealized images of people, bare breasted women, couples, and still life of objects.
Mongolian and European influences were linked to the cultural shifts in Iran, during Qajar. Italian Renaissance had a huge influence on the introduction of the female nude as erotic, with the visual vocabulary of Iranian art. As tribal women were politically engaged and empowered during the Timurid Dynasty, which opened the presentation of their bare breasted forms during the Qajar. This rejection of the stringent requirements of 600 Islamic introductions was linked to the Mongolian influx, where females were physically active, with veiling not being strictly enforced.
During the Qajar era, gender boundaries were broken with similarities in features explored, with distinction established between gender in the 19th century. This point in time emphasized the feminine characteristics and what they were defined as in depiction. As women were depicted were they breasts shown, they were shown as angels, dancers, acrobats, musicians, and mothers.
I am considering what eras suggest breaking gender concepts, in visually appealing forms. I also am considering what encourages defining the feminine, and praising it in a physically active, and creative form. These concepts change with times, and regions. But the warmth expressed in these stylized images has words attached that link with concepts that are enjoyable to link to Renaissance humanist ideas, that I find encouraging.
Pair of Lovers. Oil on canvas, 160 x 80 cm. Iran, Qajar dynasty, European influence, 19th century. NG Prague, Kinský Palace.
Woman Playing a 'Kamanche', 1800–1830, oil on calico, H 130.5 x W 88 cm, purchased, 1876, Painting
Standing Maiden, Qajar, Persia, 19th Century, oil on canvas, framed
An Amorous Couple With a Wine Flask and Glass Wearing Richly Embroidered and Bejeweled Costumes Seated Within a Chamber Curtains, Qajar Persia, Circa 1900, oil on canvas, framed, 125 x 101 cm
The Encyclopaedia Iranica is a comprehensive research tool dedicated to the study of Iranian civilization in the Middle East, the Caucasus,
Sussan Babaie looks at how 19th-century Persian paintings incorporated new technologies and political concerns
Caroline Leaf is an animator who developed alternative techniques, with a painterly quality. Leaf was born in Seattle, and went on to attend Radcliffe College and Harvard, studying Architectural Sciences and Visual Arts. Derek Lamb’s instruction resulted in her in focus on movement, as Leaf experimented with a sand inside a light box, experimenting with animation. Scratching effects from painting on glass and hand etching, are also evident in Leaf’s works. Leaf pioneered these techniques, depicting visually lyrical characters, with softened, smudged and scratched like wooden beams moving around characters.
I am considering what materials, substances and methods I can use to generation animations. What forms can be mustered from what substances? What can these symbolically communicate?
Homage to the Woman with the Bandaged Face who I saw Yesterday down Walworth Road, 1995, Gillian Wearing, R-type color print, 43.81 x 60.32 cm. (17.2 x 23.7 in.)
In ‘Homage’, Gillian Wearing witnessed a bandaged woman in England, and re-enacted the life of the woman for a series of photographs. Gillian witnessed a woman covered in bandages, and wanted to film her. Instead she posed as her, and captured audience reactions.
I find ‘Homage’ to resonate with the treatment of women in locations with high rates of violence, that result in destruction mirroring the outcomes of slaves, tortured and marked for other reasons. A romantic light in reaction to racist, sexist, and fascist provocations and reasoning behind the occurrence and reasoning for bandages faces, is interesting. What is a death mask, when it’s the face of an ex? Or the face of what you almost were? What is it, to pretend to be them and hurt them? Or entertain them, with their articles of suggestion? What is it to wear a woman’s as a man, and become a woman after injury, as a way of continuing to exist? What allows silicone beauty only in the theatrical form? What allows for renewal with experimentation? What is it to lose face in a literal form, as a result of loss of reputation resulting in incidents? The separation of false solution, provocations for phobia being separated from rational fear of religious hysteria and side effects of war, all echo. What is suggestive and resulting in beautifully glamorous ideas that allow resilience for who is not gay, but weirdly beautiful? What is affection that does that in reaction, when with someone? What does that when a person is alone, and enjoys being by themselves?
Gillian also created mask of her relatives, but these were out of silicone and clay. Gillian explored identity, sense of self, private vs public presentation, and what is contextually established. I found this to be interesting, as I have considered these to be homages in warfare, where the dead are the masks worn in plays. When this is done with faces of relatives, it suggests to me, about what you can say they could not, or that they passed on, and you experience something akin to. Silicone masks have a single use, so the temporality of theatricality is emphasized in a heightened form. Gillian considered the use of silicone masks other works, but became adamant to use a mask that did not have a prosthetic quality.
I found Gillian’s work, also recalls ‘Eyes Without a Face (Les yeux sans visage) (1960), Invisible Monsters by Chuck Palahniuk, Margaret Moth, silicone masks, acid attacks in the UK and India, and the misshapen face masks of Bread and Puppet, in a different light. I find these articles to suggest the pleasantly romantic, marriage, and the horrible. Love is important, and what is not afraid, but can enjoy a walk without acid is so beautiful.
'Celticity' in Australian Alternative Spiritualities
The article 'Celticity' in Australian Alternative Spiritualities’ by Carole Cusack discusses the history of Celtic culture and witchcraft legalities in Australia. The practice and legal stature being different for a long duration of time. A comparison to the Americans, and their relationship with religions and a desire to escape persecution, is contrasted with conviction linked to rejection. The difference for time periods, with Wicca being legal for over a hundred years in the UK, says somehting strange about indigenous practices in Australia and what practices overlap or are shared wiht americans who did not experience these technical pressures. As a result, my reading of what is technically versus cultural legal, like homosexuality, suggests an interesting perspective about state differences in Australia.
This informs me about Celtic migration due to genocide, and Italian immigrant culture linked to Irish Catholic, connect to pagan practices, internationally. The connection and disconnection between these and cultures linked to welsh and Romance languages, is influential to American dynamics, movement throughout the world, and communication. I find this interesting.
What new solutions, forms and practices come from culmination of cultural studies from engaging in research into cultures, transitioning in reaction to circumstances? I question this, and what is effective or ineffective, due to not being modern, relaxed or open to a multitude of perspectives, when setting intentions. What does not work, within a system that celebrates with companies, for a specific person’s plans to work, and result in them flourishing? How do interesting relationships develop from using psychology, history, rationality and the pop culture to use art to alleviate problems, with suggestions from these traditions? How does warfare and environmental hazards affect the use of cultural practices, and flowers in rituals, that have intentions? Why does this cause people to conceal or change? I find that interesting, for differentiating within systems, thinking for oneself, and exploring the many mindstems flourishing in the world.
Considering, what serves kings historically, and others, I question about art, rituals, and medical done for others. This being different from what is done for the self, to then do things for or with others. What systems do not allow self healing? What systems heal others in many forms, and allow others to heal themselves? Where and how do people know when they are mutually beloved, and enjoy employment, and service for others, that results in making creative gifts, that others enjoy? This suggests ideas about this, and why. What must be kept under wraps, like a script in production, or a medical record, like a secret spell or pact, until the person is deceased, or a plan is done with? This also is suggestive for what allows earned autonomy, and appreciation of edification from those who know.
What spells, onto work in specific lcositons, due to discrimination? What work with govs, as a concept, and allow travel around the world, but adaption and adjustment to circumstances? What kings are fun to entertain, but then have autonomy and fre will external from? How do you find this, when these are who control populations? How do I make myself freed, and become empowered by knowledge passed on?
The Vermont based theater company Bread and Puppet, was founded by Elka and Peter Schumann in the 1960s. It is one of the oldest nonprofit political theater companies in the United States. Massive puppets, akin to those seen during Royal de Luxe in Nantes and Saint-Herblain. German expat Peter Schumann on New York City's Lower East Side. Besides rod-puppet and hand puppet shows
The theater was started in New York City's Lower East Side, with rod-puppet and hand puppet shows done for kids, before the couple moved on to more complex productions. Sculpture, music, dance and audio was explored further, as holiday and annual presentations took place. The theater company became active during Vietnam protests.
The homemade, folkloric, and outdoor festivities are aspects of the charming and unique atmosphere generated by the theater group. Today, the company generates income with traveling products featuring unique and interesting political antics. These small productions are tightly packed but have many volunteers. Faces decays and enlarged, like misshaped and butchered forms, aged by money painfully made, I find when I observe it. The outdoor setting is appealing due to the majestic qualities, and sonic atmosphere, not resulting in echoes. I also find that the rural setting invites audiences to distance themselves from the bustle of cities, for memorable experiences that make lasting impressions. I think there is something appealing about expats who present theatrical productions together, and the journeys that entertaining others can take a person on. Looking forward, unique settings that draw audiences in, and group participation in events, is something of interest to me.
Images of the giants in Royal de Luxe performances over the years, from England, Mexico, Germany, Chile, and France
Persian Art, Collecting the Arts of Iran for the V&A
The piece of literature ‘Persian Art, Collecting the Arts of Iran for the V&A’ by Moya Carey, documents the history of Iranian Art over the past 12 centuries. Objects featured include carpets, archaeological finds, architectural pattern documentation, furnishings, and designs. The book also details Safavid, Qajar, and reproduction of Persian motifs. These came from the Victoria and Albert Museum’s Iranian art collection, that houses information for the public’s interest, in England.
‘Persian Art’ features Owen Jones’ study of Persian motifs, that resulted in books of drawings, compiled by the British artist and documentarian. These detailed eras of motif pattern origin, and were redrawn from his external perspective. Purdon Clarke also documented Persian art motifs (especially Qajar), opening a window of opportunity for comprehension, for the visual grammar of Iran to be understood.
‘Persian Art’ also discusses Safavid porcelain. This importation linked Iran to China, as blue and white ceramic plates and flower vases, featured a range of illustrative motifs, including flowers and birds, interlacing geometric forms, and Arabic calligraphy. Metallic lustre, glazed foliates, and monochrome ranges of blues were also district to the Persian response to Chinese porcelain, by Safavid potters. In the seventeenth-century Safavid dynasty, Isfahan was the central point of focus, with Kerman and Mashhad also of interest.
Harmonie verte: Les deux sœurs (Harmony in Green: The Two Sisters). Lê Phổ. Gouache on silk, 1938. Collection of National Gallery Singapore, Singapore
Lê Phổ’s (黎譜) work presents fondness, intimacy, and affection, with a French-Vietnamese flare. Lê Phổ studied at École des Beaux-Arts of Hanoi, before attending École des Beaux-Arts in Paris, studying under Victor Tardieu. Between 1907 and 2001, Phổ’s work depicted forms painted on silk. The French influence recalls the soft qualities of Chagal, with the feelings of love within French having transitioned into his hands and beautifully affected his presentation of Vietnam’s world. Portraits feature surreally suggestive poses, and stylized elongated of bodies. These present impressions with a tone of romanticism washing over each image. Transparencies, and color palettes lacking bright tones are evident throughout.
I wonder of what to show, that has these Asian-French qualities, in reaction to my own influences and relations of being informed by both. Affection, with faces disaffected, suggest of feelings. What impressions do I recall and feel of the world, when I feel contentment alone? With others? What do Romance languages compliment, after colonial relics are acknowledged and mutual exploration of what each other enjoyed, is present? What happens from dual perspectives? After others are informed by these? What do residences inform, in connection to language, and sister cities versus expatriate culture? What is continuously explored as a result of these, and which turn into longer work?
Maternité (Motherhood). Lê Phổ. Ink and color on silk, 1940. Private Collection, Paris. Aguttes
Jeune fille en blanc (Young Girl in White). Lê Phổ. Gouache on silk, c.a. 1931-1932.
Yuri Masnyj, Our Chandelier, 2004, charcoal and colored pencil on paper, 25.4 x 20.3 cm. (10 x 8 in.)
Fine lines of architectural fragments accompany illustrations of everyday objects and abstract forms. Personal meanings are presented as having been ascribed to arranged sets of objects and symbols, within the works. These objects and forms are placed in bare and austere environments, where they take in a highly suggestive form, about human experience. A combination of abstraction expressively presented, is evident with drawn forms creating structural barriers to these movement oriented shapes. These have a diagrammatic and household quality, of personal experience. these feature crisp black lines, with what is scribbled, scratched and suggestive of movement.
Masnyj has taught at Cooper Union since 2007, after graduating with a BFA. Masnyj was born in Washington D.C., and is Ukrainian descent.
