KATE STODART | COFA1002

"If I could say it in words, there would be no reason to paint" Edward Hopper

[opticallyaddicted]

Artist Henrique Oliveira Constructs a Cavernous Network of Repurposed Wood Tunnels at MAC USP

Brazilian artist Henrique Oliveira (previously) recently completed work on his largest installation to date titled Transarquitetônica at Museu de Arte Contemporânea da Universidade in São Paulo. As with much of his earlier sculptural and installation work the enormous piece is built from tapumes, a kind of temporary siding made from inexpensive wood that is commonly used to obscure construction sites. Oliveira uses the repurposed wood pieces as a skin nailed to an organic framework that looks intentionally like a large root system. Because the space provided by the museum was so immense, the artist expanded the installation into a fully immersive environment where viewers are welcome to enter the artwork and explore the cavernous interior. Transarquitetônica will be on view through the end of November this year, and you can watch the video above by Crane TV to hear Oliveira discuss its creation.

Via Colossal

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New works by Soey Milk for her solo show, “PIDA” opening tonight at hashimotocontemporary in San Francisco.

[nevver]

The New Yorker

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Chamo San, Recent Work.

Recent work by Chamo San whose delicate pencil lines heighten the eroticism of his work.

Continue below to see more:

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[nprfreshair]

Photographer Vitor Schietti has a growing collection of impermanent visions of illuminated landscapes. Using long exposure shots, the Brazilian artist produces dynamic light paintings that capture natural elements in both urban and rural settings.

via My Modern Met

[darksilenceinsuburbia]

Gemma Anton: Hapiness

website//tumblr

[helloyoucreatives]

I’d give you the moon.

http://www.thisiscolossal.com/2015/09/luna-moon-light/

[art-tension]

Fire Paintings Draws With Flames And Soot  by Steven Spazuk

More info: spazuk.com | Youtube | Facebook

Steven Spazuk is a Canada-based artist who uses candle soot to create elegant drawings. After depositing soot on his media with a candle or torch, he etches lines and patterns in the soot with  pencils and feathers.

Though Spazuk has spent the last 14 years developing and perfecting his soot painting technique, the creation process always has an element of random spontaneity and improvisation. via: boredpanda

[satanicspacecat-deactivated2019]

Holy fucking shit

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Statement.

Does rebellion exist?

Why certainly. Rebellion is not simply an action, it is also an intangible concept and like other explorations of concept, rebellion can be creatively employed, developed, skewed or adapted.

As such, my body of work that began as physical experimentation and perceptual observation turned to an unruly, non-conforming process. The experiments rebelled against my determinable plan and I too rebelled against the material consequences of each experiment. E.g. I placed watercolour on YUPO paper in a particular arrangement, the paper opposed absorption letting the colour blend more than usual. My interference of salt produced a beautiful affect at first, which slowly dissipated as the paper and water allowed the colour to swell around the crystals. Towards the end, I was mentally unenthusiastic and ‘over it’. The same thing happened during the balloon experiments. The results were not as I had planned, and each time I attempted to persuade the experiment, it only became more complicated.

Does this not aptly reflect the complexity of steering rebellion? Or the difficulties of controlling rebellion? Or our reluctance to accept the non-ideal, pushing away from the reality of a situation?

During the process and reflection, it was evident that rebellion exists in any creative field. We can push ourselves to find apparent constructs (that we both believe in and are repulsed by) and then battle with them. Yet, is this necessary? On one hand, it leads you down a path of exploration which can be vital for any creative profession. On the other, it open an inner mental battle. This, this was the most difficult thing that I encountered.

The delayed publication of this statement was also a calculated response to the way we cannot time rebellion. Rebellion does not work to a deadline. Rebellion is not on schedule. Rebellion is not contained to constraints. 

Inspiration for rebellious abstraction: - Jackson Pollock - Lee Krasner

Inspiration for installation: - Chiharu Shiota - Christian Boltanski

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Experiment looking at repulsion and integration of paints/materials and then of abstraction as elements of rebellion.

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While frustrated by the helium losing its strength, I threw the unused balloons up to the ceiling and watched them slowly float down. I found this to be a reflection of the rebellious movement slowly gaining momentum until it completely encompasses society.

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Following on from the charcoal mark making, I tried using oil paint. As the helium was no longer strong enough to hold the balloon upright, I placed them upside down, creating a pendulum aesthetic.

Interestingly, the balloons barely shifted position and the paint was sticky enough to hold the balloons in place and on the page - not making much of a mark.

After noticing this, I intervened and gave the balloons movement. By hitting them in an anticipated manner, they left marks of their own movement.

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I am fascinated by this idea of rebellion being a duality where the underground or rebellious movement gains momentum and power until it is so integrated into society that it becomes an ideal people aspire to.  In this case, the origin of the movement/ideology is rebellious but the current state is the opposite. A shift of societal acceptance. A balance of power. Whether or not a rebellious movement/protest/act succeeds, it will always make a mark.  Regardless of however obscure, unnoticed or ineffective that rebellion is, its mark will be permanent with whoever was involved.

I wanted to show this duality and movement, and began exploring this through the inflation and deflation of these balloons. As they deflate, the balloons travel downwards, losing their strength, structure and hierarchal place.

To mark that movement, I explored a few mediums - this one being charcoal. At first I tried sticking compressed charcoal to the outside of the balloon. The whole thing fell. Next, I tried willow charcoal. It didn't make marks (see photo of white page).

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A failed experiment

The master plan has been discarded.

I had hoped to create a ‘floor cushion’ and ‘roof cushion’ to install in a cube space (each one as wide/long as it’s entire respective area), however there have been a few roadblocks: - Suitable material. In order to create the ideal affect, I was hoping to place sand inside of a sack / cushion type object and close this up.  The sack and inner sand would then need to withstand the pressure of a person walking on it.  The issue with fabrics is that sand granules can escape through the minuscule holes.  The issue with plastics is that anything heavy duty enough not to tear under pressure is impeccably difficult to seal (airtight).  No, an iron isn't enough for heat sealing. Yes, I have tried.  - Cost. No matter which way I have looked at this, the cost of materials is extraordinarily high. Latex rubber is ideal, however sourcing enough of this to develop a cushion large enough to be flooring is out of my budget. The only place in Aus that can ship to Syd charges $30 per metre, plus shipping costs.   There is a durable plastic available at Mitre10 for $2.5/m (width: 2m) or a thicker sheet is $16.95 for a 2x5m roll. The issue? The cost of sealing this as a contained cushion is FAR beyond my budget and available resources.

So, new considerations: - Bean bags - Large ready made cushions - Use cushions instead of sand (create my own large cushion cover)

New ideas: - Performance piece Two people with a single outstretched arm are never able to touch due to an object (maybe a balloon/ball/cushion, something malleable/flexible) being between their hands. Both dressed in all black. All eyes closed or stare at each other? - Performance piece Two people sit opposite each other with a bean bag/cushion type object in the centre, each places one hand on their end and slightly pushes down at varying pressures. - Vandalism Create stickers / posters / fake brand t-shirts that comment on the sourcing of materials/labour third world countries. Slyly place these in a busy ‘discount/cheap’ fashion store. TopShop perhaps?

[hellcatspangled1]

Yohji Yamamoto, 1993

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Experimental contextualisation in assigned/perceived value

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Eric Wahl

“The purpose of art is not to produce a product. The purpose of art is to produce thinking. The secret is not the mechanics or technical skill that create art - but the process of introspection and different levels of contemplation that generate it. Once you learn to embrace this process, your creative potential is limitless.

Artwork should be an active verb (a lens by which to view the world) not a passive noun (a painting that sits dormant in a museum). Creativity lies NOT in the done but in the doing. Art is active and incomplete. Always shifting, always becoming. Art is a sneak peak into the future of potential, of what could be. Not a past result of what has been already done. Art is a process not a product.

Art is a human act. Art is Risky. Generous. Courageous. Provocative. You can be perfect, or you can make art. You can keep track of what you will get in return for your effort, or you can make art. You can enjoy the status quo, or you can make art.” 

Eric Wahl