Posts Tagged ‘process

05
May
12

Alison Rossiter : ‘Reduction’ (Minimalist Diptychs)

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‘Nepera Velox’
expired August 1906
processed in 2010
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‘Nepera Velox’
expired August 1906
processed in 2010
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‘Nepera Velox’
expired August 1906
processed in 2010
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‘Nepera Velox’
expired August 1906
processed in 2010
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‘Haloid Xerox Varaloid’
expired August 1932
processed in 2010
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‘Haloid Xerox Varaloid’
expired August 1932
processed in 2010
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‘Haloid Xerox Varaloid’
expired August 1932
processed in 2010
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Alison Rossiter’s photographs are created without a camera on expired, vintage photo paper. The artist experiments with gelatin silver papers she collects from throughout the 20th century, making controlled marks by pouring or pooling photographic developer directly onto the surface of the paper. Dark forms emerge which often resemble mountainous landscapes or active tornados; other shapes are paired by the artist to create minimalist diptychs. Each batch of gelatin silver paper, such as Eastman Royal Bromide, which expired in 1919, or Nepera- Velox, which expired in 1906, possesses unique qualities, depending on its particular color, surface, condition and age. Utilizing her experience in conserving photographs, she reacts to these variables and manipulates the interaction of paper and developer by hand, paying tribute to the intrinsic qualities of photographic materials and reintroducing unpredictability into a process which is now commonly digitized. – Extract: Reduction – Yossi Milo Gallery

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Alison Rossiter : Website

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30
Mar
12

Kikuji Kawada : ‘Chizu – The Map’ Series (Photography Book)

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‘Scraps’
Chizu (The Map) series
gelatin silver print
1959-1965
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‘The Japanese National Flag’
Chizu (The Map) series
gelatin silver print
1960
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‘Scraps’
Chizu (The Map) series
gelatin silver print
1959-1965
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‘Scraps’
Chizu (The Map) series
gelatin silver print
1959-1965
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‘Atomic Dome, Ceiling, Stain of Blood’
Chizu (The Map) series
gelatin silver print
1960-1961
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‘Atomic Dome, Scriblings by Tourists’
Chizu (The Map) series
gelatin silver print
1960-1961
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‘Atomic Dome, Ceiling, Stain of Blood’
Chizu (The Map) series
gelatin silver print
1960-1961
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“No photobook has been more successful in combining graphic design with complex photographic narrative… [as its] various layers inside [are] peeled away like archaeological strata, the whole process of viewing the book becomes one of uncovering and contemplating the ramifications of recent Japanese history — especially the country’s tangled relationship with the United States… His photographs are a masterly amalgam of abstraction and realism, of the specific and the ineffable, woven into a tapestry that makes the act of reading them a process of re-creation in itself. In the central metaphor of the map, in the idea of the map as a series of interlocking trace marks, Kawada has conjured a brilliant simile for the photograph itself: scientific record, memory trace, cultural repository, puzzle and guide…”

[Extract : The Photobook: A History, Volume 1, by Martin Parr and Gerry Badger]

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Kikuji Kawada : SFMOMA

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22
Feb
12

Roberta Vilić : Paintings

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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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Works of Roberta Vilić act as “fields of memory (reminiscence)“- they are places of intimate, symbolical exchange, where private perception transforms into a visual code. “The work itself is a screen of the authors interior“, wrote Janja Feric for the occasion of Roberta Vilic’s exhibition in gallery Galežnica end 2002. Evocational character of the matter transforms the painting surface into a suggestive field. In the tactile game of associations, from structure of the matter itself rise or disperse diagrams and traces. Leaving an imprint of time eroded walls and evocate a metaphorical picture of passing of time.

Moreover, Roberta’s works constitute researches of space and surface/plane, structure, matter, and material. These are abstract compositions of reduced coloring, summarized to approbation of patterns of monochrome surfaces, grey, black or white, they are close to minimalism, and they address void and surface as central figures, activating the relation between positive and negative. On the surface of the painting, layer closest to the observer, one can sense words or letters as the only reference to the world of externality, and which in subsequent elaborations and research loses its narrative character by becoming an unobtrusive symbol, and by adopting abstract character of the sign. During this sublimation process a shift is apparent, deep ponderation, which results with cumulative sense of easement of the structure, its purification and appeasement.

The new works are produced in the continuity of the author’s expression, certain form-content patterns, and visible close communication with the heritage of informell. In time we find revelations and researches of a technical nature. Alongside parts of text and letters, cuts, scratches, ruptures and gaps appear as peer elements. The author addresses them as one does a graphical matrix. These are all messages inserted in the matter and contribute its expressive power and re-evaluation of our comprehension of elementary world of matter. Without evocating objective signs and symbols by principle of tautology. By conceptualization of reduction and recurrence methods, in almost monotone repetitiveness rhythm and change are bought by minimal and discreet shifts which emphasize uniqueness of multi-layered structure of each individual work. – Extract: Branka Benčić – Marisall Gallery

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Roberta Vilić : Marisall Galerija

Roberta Vilić : More Works

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04
Feb
12

Mary Christiansen : ‘Multi Plate Etchings’ (Prints)

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‘Himmerland’
multi-plate etching
107 x 107 cm
2008
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‘Untitled 2’
multi-plate etching
16.5 x 18.5 cm
2008
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‘Shadow line’
multi-plate etching
15.5 x 16.5 cm
2008
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‘Tilt’
multi-plate etching
19.5 x 20 cm
2008
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‘Untitled’
multi-plate etching
18 x 20 cm
2007
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‘Untitled’
multi-plate etching
15.5 x 17 cm
2007
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My pre-occupation as an artist is with creating highly distilled, contemplative nuances of feeling in print. I aim to compose images – drawn from nature and memory – of stark yet tactile forms, held momentarily out of balance; forms disappearing into immaterial shadows and configurations of form in spatial settings, undergoing transformation. I’m fascinated by forms appearing like projections onto surfaces, fragile and immaterial articulations, punctuated by the interplay of light and shade. Re-discovering delicate forms in space at distances defined by rhythm and structure, are of interest to me.

My objective is to create a state of suspension of individual elements, caught in a complex of layers with deceptive simplicity. The creation of these images is intuitive in nature. The creative process is ongoing, with every intuition, reflection and configuration, pre-figuring another possibility. The printing process is an integral part of my working process. The separation and building up of layers, multiple overprinting, the use of inks of differing viscosities – these modifications inform the work as it evolves. The tactile qualities of print-making, the depth and richness of surface, are crucial. – [Artists Statement]

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Mary Christiansen : Hughson Gallery

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01
Feb
12

Jessica Houston : ‘The Times’ Series (Paintings)

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“My work is an investigation of ephemera and transformation of the everyday. I often use found materials that either reveal or subvert underlying formative principles. Whether I’m painting over newspapers, making installations from objects collected in the Arctic, intervening in public spaces, or inviting scientists to interact, I am driven by subtle shifts in perception and a rearrangement of form. I’m drawn to the fleeting experience that allows for impermanence, chance, unpredictability and tenuous stability. I’m looking for the possibility of revelation through simple means, a place and a moment where now. dissolves into always, and always into now.” – Jessica Houston : Artist Statement

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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2007
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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
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Since 2006 I have been painting over newspapers adhered to wood panels – obliterating, whiting out, and rearranging the page. Working within the existing grid system to reveal and ultimately, undermine it, the act of painting echoes the ways in which the media selects, eliminates, and frames information. The paintings subvert and transform language, and create a new form made of line, mark, measure, and composition. In their multi-layered process of making these paintings become palimpsests, a place where chance and time collide. Alongside the trauma, beauty, and calamity of the everyday world, there is the possibility of silent observation. I also paint portraits of people from the newspaper. THis is largely a response to Susan Sontag’s ‘Regarding the Pain of Others’. I paint as a process of re-presenting the form, the information. In an era of information overload, painting offers a very different kind of response to the news, a human response, of the hand and the heart. – [Extract : J.H. Website]

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Jessica Houston : Website

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23
Jan
12

Osheen Harruthoonyan: ‘Black Garden’ Series (Photography)

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“It’s easy to lose sight of exactly who you are while passing through the ‘Black Garden’. At the start, things are clear, there’s you and there’s the land, you each have your names and the division is simple.

Yet even from a peak within Nagorno-Karabakh you’re lost in the panorama. Mountain after mountain begets valley upon valley. A singular road runs through it all and though the end is too far to make out, you trust there’s an end. In your immediate vicinity at any given time you lose yourself in the intimacy of the trees, the overgrown foliage, the tombstones of an abandoned graveyard like fossilised crevices disintegrating in the wind. Voices buried beneath the moss, and cumulative silence, whisper about war.

There are small signs of life, a singular bird, a crucifix like a question mark that would cease to be seen if not for a blinking flame between the dripping walls of a crumbling cave. As night falls, shadows cannot be deciphered from leaves. Something floats by your eye, mouches volontes, a schism in the visual fabric, produced by your mind or the air, it does not matter. Your heart beats out what colour is left of the fading day and at once you are included and excluded from the landscape…” – Amy Pagnotta

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‘Black Garden’
sepia, gold, selenium toned
gelatin silver print
25 x 25 inches
2011
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‘Black Mirror’
sepia, gold, selenium toned
gelatin silver print
25 x 25 inches
2011
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‘Swan’
sepia, gold, selenium toned
gelatin silver print
28 x 35 inches
2011
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‘Wave’
sepia, gold, selenium toned
gelatin silver print
25 x 25 inches
2011
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‘Schism’
sepia, gold, selenium toned
gelatin silver print
25 x 25 inches
2011
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‘Tree of Garni’
sepia, gold, selenium toned
gelatin silver print
25 x 25 inches
2011
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‘Mercury’
sepia, gold, selenium toned
gelatin silver print
25 x 25 inches
2011
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Born in Persia and raised in Athens, Greece and Vancouver B.C., Osheen Harruthoonyan is a Toronto based photographer and filmmaker. Drawing upon his rich experiences living in such diverse cities, he employs a multi-faceted approach towards his artistic practice, investigating memory, history and the deconstructive process of time. Osheen’s work has been featured on Bravo! Arts Channel and his exhibitions in Toronto have consistently been noted as a top show not to miss. Harruthoonyan has also worked as a cinematographer on numerous short films, music videos, and experimental films.

Osheen Harruthoonyan’s sumptuous photographic prints evoke the uncertain, fledgling flashes encountered at the threshold of a dream. Combining traditional large-format photography with a variety of analog photo-manipulation techniques, Harruthoonyan skillfully renders his subjects within ethereally illusive environments. The fastidious striations and cracks of his altered film negatives become esoteric anomalies that hearken to a unique and singular “subterranean realm”.

Harruthoonyan’s willingness to take risks within the confines of the traditional photographic process makes this representational capacity possible. Altering each negative by hand, his works crystallize midway between the calculable and the spontaneous, addressing both the systematic and the chaotic. His careful yet playful inventiveness unravels the mysteries of our collective irreconcilable reverie. Harruthoonyan’s creations conjure the lifetimes that exist within moments, and the glimmers of strangeness that give pause to our ever-evolving subconscious states. Within his work, we witness not only the captured image, but the very process of image-making laid bare. – [Ex : La Petite Mort Gallery]

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Osheen Harruthoonyan : Website

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Ai : Series : Photography Book

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