What is it that motivates people to stand and gape at an accident, a natural catastrophe, a moment of human fate? Is it the compulsory need to reaffirm one's own safety?
Or is it, as Apter (The dangerous edge : the psychology of excitement, Michael J. Apter, Free Press, New York, 1992) claims, a "human strategy" to passively experience emotions of risk, excitement or unhappiness from a safe distance?
WHAT AM I DOING HERE?
I took four photographs: a nude, a landscape, a group of objects, a portrait. Then I showed the pictures to the persons involved in them, and they talked about their images; I recorded each of them speaking. Then I made transparent prints of each picture and put them in lightboxes, and put the lightboxes against the wall, so there was only the halo of each image to see. Over each lightbox I put speakers where its recording could be heard. An image isn't worth a thousand words: what was to be heard was much more interesting than the pictures. Quite like this text could be.
Her large works amaze not just because of their size but also because of their powerfully simple form. Coming on like whimsical countryside snapshots, they are in fact carefully considered compositions. The eye is drawn into their vastness and encouraged to range over the trees and fields before considering the single figure in the distance. Reflecting on issues of absence and presence, reality and representation, this series is on the boundary between landscape and portrait photography, and plays with photographic conventions of genre in a witty, elegant way.
Loci of memory is concerned with the preservation of memory within spatial environments, enabling the retention, recovery and [re] telling of individual and collective memory. This work is concerned with the exploration of the personal Loci of Memory of the artist. Utilising process and form to explore internal fragments of individual memories. And realising these in an external form using the languages of sculpture, image and sound.
MEANING IS CONTROLLED BY DISTANCE.
Big Yellow Taxi reconstructs a feature of the demolished Scunthorpe Leisure Centre. The first part of the work is an image of layers of decoration exposed by this demolition; amongst the concrete and debris we can see the muted yellow of cartoonish clouds, which for the second part we see recreated in miniature and hung throughout the space. The absurdity of this tropical gesture is emphasised in the image, but in the space these objects embrace their transience and mobility, suggesting another course for the tokens and tropes of a failed paradise.. Deliah 100 is a piece featuring a site-specific interactive projection designed for the shopping window front of the Goo Goo Goggles Store. The content for the projection will be the live video footage captured from the street in front of Goo Goo Goggles. Everything in the viewing field of the camera will influence the appearance of the projection and the viewer quickly finds himself within the art piece itself, and as a result Dehlia 100 becomes a unique one-time-only site-specific work. . QUESTION: WHY ARE YOU AN ARTIST?
MATTHEW ROSE: I LIKE THE HOURS.The image reflects our insatiable demands for nostalgia. Domestic settings create clear imagery of a style, time and a place and therefore share potential personal narratives with the viewer. This is what 'familiar' is all about...Business is beautiful. A sentence written under a beautiful picture of a military aircraft.I called the painting ´Don´t be afraid´. The american flag draped across the french doors of the studio and twisted up and thrown over so that the X-ray of the sick lungs and that of the hideously damaged skull below are lit by the light streaming from outside. On the left of the flag hangs an empty transparent display I found in and liberated from the supermarket.
This painting is part of the project ´Map´ which has been in paroduction since the mid 70s. (Bill Allen Allen - ´Don´t be afraid´)Photography as the Bacchic instrument for arousing the dark and uncontrollable passions that conflict with the purity of Apollo's lyreVOAGERS READ ME
Installation at CCA Tbilisi/ Georgia in the frame of Artisterium 2-12nov 2011
The work is interactive. It embodies the ways of communication between strangers, through bodily experience – like touching each other, talking with each other, helping each other, looking at the same or opposite directions, having different perception of one’s body in the exhibition space through the influence of pinoculars and a written text. Everybody is important therefore the red carpet.I'm interested of the whole aspect of the human race.
a woman of thirtyI'M RICH
MY ART IST CHEAP
GUYS AND FISHES
COME IN MY CABINET OF CURIOSITIES
I SHOW YOU THE NEW ARCHITECTURE
STÜCHELI MY DADDY
AND SOME STUDY CASE HÜÜSLI
"As professionally, as personally,i belive permanent progression is the most important.I see unsolved problems as possibilities, which can make me become complete."MATT GOLDEN created The Russian Club, London by converting the Bomonti Social Club to a gallery and studios in 2008. During a short residency in Bremen, Germany at this time, he performed a reverse conversion by temporarily transforming the Bremen gallery into the 'New' Bomonti Club, a music venue and bar. When it was completed, Golden stood on the stage he had built and performed an original music set as the troubadour, Juan Carlode, a nomadic musician character invented by the artist. Je suis perdue, je ne sais pas ce qui c'est passé, je ne suis pas l'adulte que j'espérai...je veut plus..The kind of art that I do and am interested in is those that inspire transition of subject and object. No jury, no prizes. A small blue book with a grey cover. On this cover a title."365 invisible notes on time and mirrors". Written by one Alphonse Barrow Jr. When you open the book all the pages are empty. When you turnover the pages, you'll see that parts are cut out in a rectangular form. In this cut out rectangular form lays a hourglass. You can take it out of the book. When you turn over the pages even further, there's a circle cut out, almost as big as the pages. In this circle there's a round mirror. When you put the sandglass on the mirror, the sand will fall upwards, and time will...nicoledanvers This is my new account Instagram stopped my pictures from getting onto the popular page, so I made a new one! So, will y´all PLEASE follow@nicole_danvers for me?! I´ll be following many people as I can! <3With the help of a genetechlaboratory, I extracted a couple of different colorpigements from the eyes of vinegar flies (drosophila melanogaster), and at first didn't know what to draw with them.Large drawing on paper in pencil, letraset, pen and crayon that explores movement within different areas of the Faiircharm trading estate in Deptford, London. The map's key references an online survey that asked Faircharm inhabitants how they occupied their physical and digital space. I explore the world though drawing,that is the way i digest and understand my envoroment, i cant draw from pictures i must go on location