在上海这些年,常常想,能不带耳朵,多好! ]]>http://www.ideaprisoner.com/weblog/showlog.asp?log_id=1773<![CDATA[Artists : Carrie Marill]]>北邦2009-6-19 14:01:31 A Dream World Glimmers In The Background Of The Soul by Carrie Marill Growing up with a strong relationship to the natural environment I developed a heightened awareness of the conflict between human systems and ecological systems. Through my interest in science (particularly theoretical physics, the String Theory work of Brian Greene, evolutionary biology and the work of Charles Darwin and Darwinian geneticist Steve Jones) I have been inspired by the interconnectedness of matter, especially as it is manifested in ecological systems; specifically, systems impacted by humans in non-sustainable ways. At the heart of my work is the continuous human struggle to reconcile the tensions between the natural world, art, science and lived experience. My artwork over the past five years has explored these tensions through paintings and drawings that contrast the kineticism of the natural “living” world with the static “inanimate” depictions of natural history illustration.
Newfoundland 1 by Carrie Marill The series Newfoundland features threatened, endangered, or extinct flora and fauna existing in an imaginary world.
Newfoundland 1 includes Brignamia Insignis, endangered, USA; Red Mountain Rock Cress, endangered, USA; Purple Heron, threatened, Europe; Squacco Heron, threatened, Europe; and Black Crowned Night Heron, endangered, Europe.
House Plant 2 by Carrie Marill House Plant 2 is from the artist's upcoming solo exhibition at Jen Bekman Gallery, Doing a Lot with Very Little. The exhibition will be on view from September 12 - October 18, 2008. Please visit the gallery's website to view more images from the show.
Doing a Lot with Very Little is the result of my endeavor to create a series of non-narrative work. I am using recognizable imagery and the language of systems to create a dialog; the mathematical and the organic cohabitate, creating a world of exploration and curiosity.
I chose to paint house plants after coming across some elegant images in a Japanese architecture book. I've painted them before and found myself returning to plants when I needed a break from the detailed birds I had been working on over the past year. I like the quiet and contemplative way drawings of ordinary house plants can say so much, through very little.
The abstract drawings are observations in color, value and composition, generating three-dimensional images in a two dimensional space. They act as pauses between the house plant paintings. It is an organic process, each color choice was in response to the previous color painted. Simple marks combine together to create an optical illusion, much like the subtle value changes and intricate lines that make up the images of house plants.
The majority of my source material is found online and my final artwork is often viewed online. Is the final image just a collage of media re-constituted through me? I can't even really see a drawing until I scan it and view it on my screen, knowing that is where the majority of my audience will view the work. Drawings and paintings were the first ways humans recorded imagery and communicated. Nowadays, recorded images are captured and edited with digital media. How has this changed the way we see, construct, and choose our images? Pixels create a large chunk of our visual world. With that in mind, how is experiencing art in person different than what you will see online?
Newfoundland 7 by Carrie Marill The series Newfoundland features threatened, endangered, or extinct flora and fauna existing in an imaginary world.
Newfoundland 7 is of a Hawaiian Crow, endangered, USA.
Space and Illusion by Carrie Marill Space and Illusion is from the artist's upcoming solo exhibition at Jen Bekman Gallery, Doing a Lot with Very Little. The exhibition will be on view from September 12 - October 18, 2008. Please visit the gallery's website to view more images from the show.
Doing a Lot with Very Little is the result of my endeavor to create a series of non-narrative work. I am using recognizable imagery and the language of systems to create a dialog; the mathematical and the organic cohabitate, creating a world of exploration and curiosity.
I chose to paint house plants after coming across some elegant images in a Japanese architecture book. I've painted them before and found myself returning to plants when I needed a break from the detailed birds I had been working on over the past year. I like the quiet and contemplative way drawings of ordinary house plants can say so much, through very little.
The abstract drawings are observations in color, value and composition, generating three-dimensional images in a two dimensional space. They act as pauses between the house plant paintings. It is an organic process, each color choice was in response to the previous color painted. Simple marks combine together to create an optical illusion, much like the subtle value changes and intricate lines that make up the images of house plants.
The majority of my source material is found online and my final artwork is often viewed online. Is the final image just a collage of media re-constituted through me? I can't even really see a drawing until I scan it and view it on my screen, knowing that is where the majority of my audience will view the work. Drawings and paintings were the first ways humans recorded imagery and communicated. Nowadays, recorded images are captured and edited with digital media. How has this changed the way we see, construct, and choose our images? Pixels create a large chunk of our visual world. With that in mind, how is experiencing art in person different than what you will see online?
]]>http://www.ideaprisoner.com/weblog/showlog.asp?log_id=1772<![CDATA[Arts from Richard Colman]]>北邦2009-6-19 13:55:44http://www.richardcolmanart.com
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