The week behind, the week ahead:
Last week I was thrilled to witness the Gary Stephan lecture.
(crownpoint.com)
Forgive me for not taking any notes, but Mr. Stephan showed us a series of slides "skipping around through about 20 years of work, so forgive me if they seem a bit rushed or if there appear to be large jumps here," that accentuated subtle visual cues where he used his compositions to echo distant voices within art history. Of particular interest to Stephan was Bruegel (The Elder's) Bird Trap, pictured below:
What I found most interesting in Stephan, on top of his casual and conversational... ifnot humble... approach to artmaking and art-relating, were his interests in abstraction of the landscape form. This is a hot topic with me and something that always perks my ears. Stephan's more recent works are derived from maps and landscape photography, abstractions and reductions that mimic and echo their sources with liberal ease yet exhibit a freedom of mark that subconsciously destroys and reinterprets the forms without losing much of the original composition. Sometimes the viewer is amazed at the likenesses between the two, and other times I might've found myself saying "Oh yeah, he was using that as his source... of course they look similar...." Stephan seemed fairly amused at this bit of magickry. I would do little justice to his work by merely saying that his work is worth taking a healthy look at. I found it quite nice.
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Someone asked me to attend an artist/city planning? luncheon this week. I still don't know that much about it, but I'm thinking that it may involve Shockoe Bottom/Manchester developers wanting more feedback from the artist community. I feel awfully young for these sorts of things, which always makes me smile a bit when I ask myself "they want me...? Don't they know what they're getting themselves into...?"
I've got my mind on showing. I'm still working 7 days a week.... egads... but this week I have to take my pieces down from the Richmond Public Library, I'm inclined to participate in this week's "Works on Paper: Re-Pressed" show going on at Gallery5, as well as the fact that I need to address exactly what I'm going to do with an invitation I received to participate in a show in Korea. My panels can't go to Korea, it's a theoretical and meta-physical impossibility, so I'm having to seriously consider exactly what, my dear boy, will be on this wall in this show that I'm obligated to fulfill. I'm most likely going to be creating work specifically for this show, which will have its ups and downs. I have some ideas, my workspaces are starting to look more like workspaces again, I guess the question that's seriously on my mind is do I present myself as myself or do I present myself as talking to or in reference to, say, Korea? Korea is a complicated subject, but I know I'm not afraid of a challenge. Too much thinking. I'm going to over-produce and pick the best two. Safe? No, smart... Time is also coming to think about a show I have this summer, the time is approaching that I delve back into creating large panels again.
I wonder how quickly PGFX can produce some slides for me? March 1st already?
(crownpoint.com)
Forgive me for not taking any notes, but Mr. Stephan showed us a series of slides "skipping around through about 20 years of work, so forgive me if they seem a bit rushed or if there appear to be large jumps here," that accentuated subtle visual cues where he used his compositions to echo distant voices within art history. Of particular interest to Stephan was Bruegel (The Elder's) Bird Trap, pictured below:
What I found most interesting in Stephan, on top of his casual and conversational... ifnot humble... approach to artmaking and art-relating, were his interests in abstraction of the landscape form. This is a hot topic with me and something that always perks my ears. Stephan's more recent works are derived from maps and landscape photography, abstractions and reductions that mimic and echo their sources with liberal ease yet exhibit a freedom of mark that subconsciously destroys and reinterprets the forms without losing much of the original composition. Sometimes the viewer is amazed at the likenesses between the two, and other times I might've found myself saying "Oh yeah, he was using that as his source... of course they look similar...." Stephan seemed fairly amused at this bit of magickry. I would do little justice to his work by merely saying that his work is worth taking a healthy look at. I found it quite nice.
----------=============----------
Someone asked me to attend an artist/city planning? luncheon this week. I still don't know that much about it, but I'm thinking that it may involve Shockoe Bottom/Manchester developers wanting more feedback from the artist community. I feel awfully young for these sorts of things, which always makes me smile a bit when I ask myself "they want me...? Don't they know what they're getting themselves into...?"
I've got my mind on showing. I'm still working 7 days a week.... egads... but this week I have to take my pieces down from the Richmond Public Library, I'm inclined to participate in this week's "Works on Paper: Re-Pressed" show going on at Gallery5, as well as the fact that I need to address exactly what I'm going to do with an invitation I received to participate in a show in Korea. My panels can't go to Korea, it's a theoretical and meta-physical impossibility, so I'm having to seriously consider exactly what, my dear boy, will be on this wall in this show that I'm obligated to fulfill. I'm most likely going to be creating work specifically for this show, which will have its ups and downs. I have some ideas, my workspaces are starting to look more like workspaces again, I guess the question that's seriously on my mind is do I present myself as myself or do I present myself as talking to or in reference to, say, Korea? Korea is a complicated subject, but I know I'm not afraid of a challenge. Too much thinking. I'm going to over-produce and pick the best two. Safe? No, smart... Time is also coming to think about a show I have this summer, the time is approaching that I delve back into creating large panels again.
I wonder how quickly PGFX can produce some slides for me? March 1st already?
posted by n8shac | 10:55 PM
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