Saturday, 30 January 2010

Performance 7: Mirage
Joan Jonas
December 18, 2009–May 31, 2010
MOMA, New York

Inspired by a trip the artist took to India, Joan Jonas’s Mirage (1976/2005) was originally conceived as a 1976 performance for the screening room of New York’s Anthology Film Archives. In it, Jonas carried out a series of movements, such as running as a form of percussion and as gestural drawing, while interacting with a variety of sculptural components and video projections. In 1994, the artist repurposed these elements—metal cones suggesting the form of volcanoes, videos of erupting volcanoes, wooden hoops, a mask, photographs, and chalkboards, among other items—as a discrete installation, which was itself reconfigured in 2005. At MoMA, the artist once again reimagines the work in an installation that combines elements of ritual, memory, repetition, and rehearsal with games, drawn actions, and syncopated rhythms.

Joan Jonas is a Professor of Visual Arts in MIT in America.
Ernesto Neto: Navedenga
MOMA, New York
January 22–April 26, 2010

Since the late 1990s, Brazilian artist Ernesto Neto (b. 1964) has created interactive, immersive sculptural environments using translucent, stretchable fabric. Navedenga (1998), acquired for the Museum’s collection in 2007 and on view for the first time in the galleries, is one of the earliest pieces from this evolving body of work. With its taut contours, rounded appendages, and soft, pliant surface, the installation resembles both the intimate spaces of a body and a fantastical spacecraft; its title, a neologism coined by the artist, recalls the Portuguese word for ship, nave. The artist embedded aromatic cloves within the structure, and visitors are invited inside its hollow chamber to engage their visual, tactile, and olfactory senses. Male and female; internal and external; weight and ethereality—Navedenga encompasses a profusion of symbiotic oppositions.

Ernesto Neto. Navedenga (installation view at The Museum of Modern Art, 2010). 1998. Polyamide stretch fabric, sand, Styrofoam, cloves, cord, and ribbon, 144 x 180 x 252" (365.8 x 457.2 x 640.1 cm). The Museum of Modern Art, New York

Thursday, 21 January 2010


Teapots in glass cabinets

After taking these images at the Burrell gallery in Glasgow, I edited their tinting levels, experimented with how the would look if it was intentionally faded by over-exposure, application of chemicals, photocopied and covered in tracing paper/masking tape/netting or any other material that creates a veil over the image.
Teabags stain a lovely range of browns, greytones and sepia, which is wny I'm messing with the colour washes via computer editing here.

Miss Cranston's window

with tea


Linseed oil and black oil pastel stick


Same tea, different days

"He's no right to say that we might be losing our jobs"

"I think they're gettin' rid of the warehouse"

"They think it's a joke"

"We'll just keep going"

Illustrative stains

How do you make a drawing look 3D......

To focus or not to focus....both are interesting

Tuesday, 12 January 2010

spilled out


A 46-year-old mother of two, who gave up a legal career to become an artist, has won a top art prize.

Glasgow-based Patricia Cain was awarded the £15,000 Aspect Prize in London for her depictions of the construction of Glasgow's new Riverside Museum.

The artist moved to Glasgow from Carlisle where she owned her own legal practice, specialising in medical negligence and personal injury work.

She moved to Glasgow in 2001 to concentrate on her art.

The judges of the Aspect Prize - which is open to Scottish artists and those who are based north of the border - were especially impressed with her depictions of the new £74m Riverside Museum on the banks of the Clyde, which is due to open in Spring 2011.

Glasgow Overhang 3-D (2004)
Plastic, wood, wire, paper
193 x 180 x 80 cm

This Sky Will Hold You When You Fall Down (2004)
Steel, copper, electrical wire, calico
200 x 200 x 330 cm