Posts Tagged ‘works on paper

04
May
12

Ion Zupcu : ‘Works on paper’

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‘October 30’
Works on paper
Ion Zupcu
2004
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‘August 18’
Works on paper
Ion Zupcu
2005
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‘March 9’
Works on paper
Ion Zupcu
2004
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‘March 15’
Works on paper
Ion Zupcu
2005
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‘March 5’
Works on paper
Ion Zupcu
2005
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‘February 9’
Works on paper
Ion Zupcu
2006
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‘February 13’
Works on paper
Ion Zupcu
2006
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“Most people take images of other people to preserve memories;
I photograph objects to preserve my own memories.” ~ Ion Zupcu

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Ion Zupcu : Website

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01
Nov
11

Karl Haendel : Works on Paper

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Abstract Chicago #1
charcoal on paper
60 x 49 in
2010

Abstract Chicago #3
charcoal on paper
60 x 49 in
2010

Abstract Chicago #2
charcoal on paper
60 x 50 in
2010

WK #4
Pencil and spray paint
30 x 22 in
2009

Somewhat Cubist #10
pencil and enamel
30 x 22 in
2009

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Los Angeles-based artist Karl Haendel works with large-scale graphite drawings. The themes of his works, largely appropriated, include political commentary, personal narrative, and Modernist forms.

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Karl Haendel : Tony Wight Gallery

Karl Haendel : Noma Gallery

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17
Dec
10

Dragana Crnjak : Works on Paper

“The experience of love is as close as most of us get, after childhood’s end, to feeling that we are not bound by our skin, that the circumference of self can be moved or penetrated or dissolved in union with another…our surrender to love is a touching of skin to cancel out that boundary.” (Nachmanovitch)

House #11
Charcoal, pastel on paper
36 X 36 inches
2007

House # 4
Charcoal on paper
42″ X 42″
2006

House # 3
Charcoal, pastel on paper
42″ X 42″
2006

House # 7
Charcoal, pastel on paper
42″ X 42″
2007

Interior # 1
Charcoal, pastel on paper
42″ X 42″
2007

House # 8
Charcoal, pastel on paper
42″ X 42″
2007

My work, in general, is a search for re-enchantment, for a way to reach below the surface of things, to find that point of connection with life. I want to engage the viewer in a sensory experience, one that is un-camera-like, un-computer-like. My goal is to nudge the viewer into a deeper experience of the present, where the “circumference of self” is dissolved – to provide a moment of contemplation without literally telling a story.

The current series, loosely based on a metaphorical concept of the garden, continues the search for “re-enchantment.” It attempts to evoke an experience through the relationship of surface marks, the material of the paint itself and color, alluding to an abstract garden – a place set apart, penetrating the “circumference of self,” where awareness is expanded and the senses enriched. The works are constructed as a kind of palimpsest, a layering of forms and feelings, providing a point of departure with multiple meanings. [artists statement]

Dragana Crnjak : Website

Dragana Crnjak : Page Bond Gallery

Dragana Crnjak : Kathryn Markel Fine Arts

16
Dec
10

Paul Chan : The 7 Lights

Fold into itself – (for 5th Light)
Paper and charcoal on Styrofoam
32 x 23 7/8 x 3/4 in
2006

Crystal into network – (for 5th Light)
Paper and charcoal on Styrofoam
32 x 23 3/4 x 3/4 in
2006

Chinese roof into pyramid – (for 5th Light)
Paper and charcoal on Styrofoam
32 1/8 x 23 1/8 x 3/4 in
2006

Network into line – (for 5th Light)
Paper and charcoal on Styrofoam
32 x 23 3.4 x 3/4 in
2006

Circle into spiral – (for 5th Light)
Paper and charcoal on Styrofoam
31 7/8 x 23 7/8 x 3/4 in
2006

Point into labyrinth – (for 5th Light)
Paper and charcoal on Styrofoam
31 3/4 x 23 7/8 x 3/4 in
2006

Paul Chan’s complete series “The 7 Lights,” offers a unique occasion to explore the practice of a New York-based artist whose work engages such fundamental themes as politics, poetry, war, death, and desire. Begun in 2005, Chan’s ambitious cycle combines obsolete computer technology with hypnotic imagery to create a series of enigmatic encounters with light and darkness. In the title, the word “light” has been struck through, drawing attention to its dramatic absence.

Presented alongside a selection of works on paper, older videos, and a new projection, the Lights create a vast image of cyclical destruction and rebirth, spread across floors and walls like light falling through windows. Structured over the course of a day, each of the Lights begins peacefully, with the warm colors of dawn. Slowly the atmosphere changes: silhouettes of objects rise up through the air and are dismantled by obscure forces, while human shadows plummet towards the ground. Like a dream deteriorating into a nightmare, the sequence becomes increasingly horrific until it fades to dusk and peace returns, waiting for day to break again.

Just as a shadow cannot fully describe the object from which it emanates, “The 7 Lights” convey a narrative that is inevitably incomplete, yet rich with historical references, including ancient Greek mythology and Baroque painting. “The 7 Lights” can also be related to Biblical accounts of the origin of the world and its impending end, suggesting a possible reading of Chan’s cycle as an allegory of the seven days of creation. Furthermore, Chan’s work calls to mind contemporary tragedies such as 9/11, the war in Iraq, and the ongoing eruptions of terrorist violence around the globe. Unfolding like a present-day Last Judgment, a subjective and anonymous hand decides what rises and what falls; touching on the viewer’s own fears, the result is not as one might have imagined – worthless objects ascend while human life is cast aside like rainfall. However, caught as they are in an endless repetition, the Lights suggest that perhaps there is no end, just an eternal beginning. [Extract : New Museum]

Paul Chan : Video Projections

Paul Chan : Drawings

Paul Chan : Audio

Paul Chan : Text




Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

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