comtextual statement

The concept of Greek word Pareidolia is the instinct to seek familiar forms in

disordered images like clouds or installations, the perception of random

stimulus as significant. Usually interpreted as the ambiguity in contemporary

art, the opening of more than one interpretation.

In a relation with last idea “Composition of Fragmentation”, colored fragments

scrabble up paintings, because of the brain functions, viewer produces the

pieces as figures (even female figures) and framed backgrounds, the

recognition of human color in daily life is one of the tracks, as well as the sense

of poses and emotions in a kind of uncomfortable and fascinating way. In this

whole series, watercolor has been used fundamentally, bright, pure and dark

washed paint sucked by surface tissue, at a time, it dried and tear off, the left

paint traces and movements bring more lives to the atmosphere in artworks,

and the left tissue give a collage sense.

This visually ambiguity highly marked in The Slave Market with Disappearing

Bust of Voltaire by Salvador Dali, it can be seen as an obscured or a double

edged remark. If say Dali was exploring the technique, subsequently

Leonardo’s Mona Lisa was examining more about facial expression of

emotions. This technique and exploration method has been used since ancient

times, also will continue used for the future contemporary art.

my curiosity IV

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Right composition, position, feeling, exploration etc. are opposable, so far I enjoy the atmosphere I created, I always want bring weirdness, terror and disturbance in my practice, because whole my practice has directed related with personal identity, before that thought was very hard involve with, now I feel like I'm on it.
 

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Final Exhibition set up

my curiosity III

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The "pareidolia" does not have a limit meaning, original greek meaning aims to cloude, but I'd like to explore it in as many ways as possible, this ambiguous drawing/painting style really interested me, basicly childlike fragments supply the structure of an artwork, I'm still in the beginning of this style, like that I got some feeling during the drawing and painting but not too certain, I have to keep trying and adjusting.

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I found some portraits' photos, they are in unusual and fascinating positions, again the ambiguity traped me, even the photos can be seen in different ways, portrait and not portrait, same as the structure paitings I did before, watercolor combine with "tissue left", liners, pencils displaced strings, found images, liners from last semister in more artistic way I suggest, join more drawing techniques and figurative impression.

my curiosity II

Pareidolia:

the instinct to seek familiar forms in disordered images like clouds or  constellations.
the perception of random stimulus as significant.

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This series is play with the tracing of watercolor from tissue underneath, and colour liners (very fine ones), looks like buildings or constractions, but I have no set up ideas, just build block with block, after tissue dried, peel off it, get the trace of painting, if it can called painting, I prefer related it to my last semister process "composition of fragmentation", I call it fragments, different fragments pieces together, can be seen as a painting or something else, "one thousand readers, there are one thousand Hamlet", so I throw the question back to audience, what do you see? what do you feel? (Artist Sarah Hinckley "simply hinting without defining, leaving the viewer to come away with his or her own impressions")

Some people keep asking me "is it a building?" "you change your 'fragments' to structure?"
No, my answer is no. I'm still play with the same idea, but in different way, weired way or unusual way, I choose to rejoin colours' fragments together, creating/trying the "Pareidolia".

artist Miroslava Rakovic

Artist Miroslava Rakovic was born in Serbia (former Yugoslavia), she uses different media on paper/canvas or in digital work, reflect a strong symbolic character, an iconographic search that follows the changes in her personal life.

"I can imagine these works by her would be translated beautifully into tapestries with these grades of colour and delicate lines. Many of these works have been made by initially by pain over magazine pages with acrylic paint."

There are very less information about her on line, same as the concept and idea of her artworks. Basically just said the media she used is acrylic, she paint and collage, have magazine pages involved, not large paintings, always around 310mm*220mm, like A4,A5,A3 sizes.

I feel like I found a connection with her works, small scale paintings with sketching, drawing, collage, found images, the forms fundamentally simple, no specific meanings, but these fragments also mean everything, everything appealed in my life, feeling, emotion, what we see, how we feel, where we read... ... subjective experiences & personal identity.

I'd like to follow her steps of color using, very gentle grades of clolors, well-distributed. Also the old, dusky, little vintage sense of background really tempted me. These is something from her paintings... the simplicity, the focus, the focus of simplicity. 

Is it the less you speak, the more we can feel... ... 




http://theartroomplant.blogspot.co.nz/2013/09/miroslava-rakovic-ii.html

http://www.arteafk.com/#!miroslava-rakovic-cv/c1hxy

my curiosity I

Curiosity: a state in which you want to learn more about something.
             
                  somthing unusual--perhaps worthy of collecting.


What's different kinds of watercolour papers can effect paintings?
What's different combinations of material with watercolour can effect paintings?
What if... ...

Too many questions in my bead recently, so I did some experiments.

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Watercolor pencils can create a very effective feeling. it mixed the qualities of watercolor's fluid and pencil's solid, very flexable and changeable, I can create the painterly atmosphere of drawing or painting or drawing with painting (what I'm doing), even I just draw or paint simple, the effects always caught me.

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These all very tiny images, but you can see details very clear, I think this type of watercolor paper has made undeniable contribution, it is the cheapest and lightest paper in watercolour rang, but because of the indelicate texture offered more depths and layers.

mi piace

From artist S. Hinckley

Painting is how I know what I am thinking, feeling and where I am going, how I filter all that is in the world around me. I hope the final object becomes something beautiful for the viewer to be inspired by. Something poetic, visually stimulating. And yet a bit challenging. I have no set idea when I begin a painting. My interest is in pursuing the process intuitively. Without predetermined structure. Oil painting gives artist the ability to create many different depths and layers with thin washes of paint, this process can involve over great period of time, the colors grow and develop, building up the paint create a dialogue. Putting down a layer of wash, mark or a line of color, and then stepping back, to look and take in what I have done, and what was happened on the surface of the painting. Responding, to a mark or a layer of wash by adding or taking away these simple steps continue an interacive process that consumes me, and builds the energy with which I forcus. Days may go by because of life's responsibilities. When I walk back into the studio, and see with new eyes, what happened before,I begin the process again as the painting evolves the process slows. More time is needed to look, so much time looking, and thinking, the process becomes more and more interesting, and all consuming.

I like view her works in a roll or several pieces together,can find regular pattens and orders and feelings, this kind of feeling...how I can describe it...very peaceful and the more you look more depths you can find, it is an endless discovery and joyness, and at times, some paintering accidents happend between, it is not bad or need correct, this thoughtless accident makes painting more interesting and playful, this is what I'm looking and tracing for.

artist Sarah Hinckley

The style of American artist Sarah Hinckley is ethereal and airy, her paintings are abstract expressions with nuanced references to landscape and botanical motifs. She usually paint oil paint and watercolor.

Small watercolour works on papers, tending towards the minimal, with muted colours and smooth surfaces, some paitings reveal a bolder palette, and at times, the surfaces permit brushwork and other painterly accident, bearing witness to the process.

This painterly accident is what I like and what effect my paintings from time to time (explain in next blog Critic)   her paintings stem promarily from her encounters with "surroundings", triggered by a colou, a shape, an impression, an emotion, a memory...

I'm very into this description of her:

In her studio all elements past and present, thought and process come together, not in order, not fully understaood, not yet resolved, somewhat remembered - and momentarity, order, resolution, clarity and balance are achieved, overall, Hinkley's paintings, as well as her titles, give us a peek into her world, simply hinting without defining, leaving the viewer to come away with his or her own impressions, the general tone remains one of universal hope.

  





http://www.dmcontemporary.com/exhibitions/sarah-hinckley/pressrelease.html

http://blog.re-title.com/features/2012/10/sarah-hinckley-everywhere-tomorrow-at-dm-contemporary-nyc.html

artist Ryoko Aoki

This was an exhibition at the Hara Museum of Conyemporary Art, Japan. It host a group show of young japanese artists, include Ryoko Aoki, "The sun" (2009).

Major aim of this exhibition was "Micropop", for critic and curator Midori Matsui "Mircopop is defined as a set of artistic practices that move in two directions:

First, it involves the rearrangement of products, fragments of information, knowledge, or cultureal signs to create new inventions. (the act of rearrangement is said to be driven by 'immediate demands in life' rather than ideology or social conventions')

Second, it described as "the production or recording of a physical effect", explain as a deterritorialization of the language of art.

Aoki's artworks describe with childish sensibility, based in drawing, feathery pencil strokes, stippled felt pen marks, sure-handed countour drawings, also she uses watercolor. She sketiched of everyday reality, landscape, flowers, objects etc. include details, individuals, disparate elements. Her works presented a comtemporaty aesthetic, simplicity and subjectivity.

I really interested in this "subjectivity aesthetic", her drawing nevertheless resist a  reconstraction of personal history, it is what I'm doing recently. Deliberately erases traces of subjectivity by coping fragments images from photos, advertisements, posters etc.

In the past, she has shown drawings that connect diverse phenomena through formal analogy. Recently, scattered visions were repeatly pursued through the rearrangement of such banal motifs as cookies and flowery fabric patterns.

http://www.tokyoartbeat.com/tablog/entries.en/2009/06/micropop-imagination.html

http://hammer.ucla.edu/exhibitions/detail/exhibition_id/75

http://www.mutualart.com/OpenArticle/Ryoko-Aoki/CA80C78467AEFB3B