This week I'm working on the techniques of incorporating image transfer in my body of work. My images are photographed copies of paintings that were made earlier last week and the reason for this is to introduce an element of surprise in my body of work. These surprises are momentary pause found in landscape which I'm hoping to utilize in communicating the idea on what is tranquil. In the end, the goal is to make what is been displayed draw the viewer closer.
In addition, this weeks artist is Stas Orlovski who works with the process of image transfer, specifically the xerox transfer technique. I'm also intrigued by how well these transfers are done by Stas. Here are some images of his xerox image transfer.
Kazimir Malevich, a pioneer of geometric abstract art. In his famous work, the seminal Black square which was the first form in which non-objective feeling came to be expressed, he described the square as feeling and the white field as the void beyond this feeling. Artist George Rousse uses the visual qualities inherent in Malevich’s work but does both artists share similar ideas?
George Rousse is a French contemporary photographer, in his works are painted alterations of an existing three-dimensional space which flattens out space and in the end, they appear as photographs. His photographs become an optical illusion of these spaces, as a viewer, one is challenged by the verisimilitude of the memory these images create in context with its flatness. George’s approach of imposing a solid shape on top of these spaces help call attention to the form here, one experiences the rhythm, balance, perspective flattening and pictorial record of these spaces. To illustrate, there is a quality of the yang theory in George’s photography, it’s the dark versus the light which calls our attention back to Malevich’s idea of feeling versus the void beyond feeling.
Places contain metaphoric or symbolic meaning that goes beyond the surface appearance of a particular landscape or architecture. Sometimes, we realize that the society is one huge influence on how transformation occurs in a place or space. For George, he tends to use spaces that are inspired by its history or social events.
“…His raw material is Space: the space of deserted buildings. Taking his inspiration from a site's architectonic quality and the light he finds there, he quickly chooses a « fragment » and creates a mise-en-scène, keeping in mind his ultimate goal, creating a photographic image. In these empty spaces, Georges Rousse constructs a kind of utopia that projects his vision of the world - his imaginary universe.
His creation both expresses his artistic intentions and resonates with his impressions of the site, its history, and its culture. Finally, it results in a photograph, a flat plane, so the shapes he paints and draws, and the volumes and architectural constructions he creates in those massive spaces seem fractured or split on different levels. His photo masterfully brings together painting, architecture, and drawing. It carves out a new space in which the artist's fictive world becomes visible.
At the heart of this questioning the definition of art, his work deals with our relationship to Space and Time.
In his photographs, Georges Rousse compels us to read architecture as static, images as immobile, then gradually transforms our perception of Space and Reality. The final photographic image perturbs our visual habits and convictions by presenting three kinds of space: the real space, where he makes his installations; an imaginary utopian space, which the artist invents and then carefully builds at his chosen site; and a new space that is visible from only one spot when he clicks the camera shutter, and exists only in the photo.”
In the light of this, the concept of feeling versus the void beyond the feeling is somewhat relative to my concept of tranquil and chaos. The feeling of the chaos and the void as the tranquil, also, the hidden representation hidden in my paintings as a static imagery of an experience of momentary pause and this is inherent of landscapes. Often, I create new places by transforming the imagery from the momentary pause I experience, likewise, these imagery and spaces are not tied to occurrences rather they are metaphoric and symbolic.
In the previous week, I started working on miniature linear landscape sketches which will serve as a reference for the subject of tranquility in my paintings. Basically, it’s a work in progress and I’ll be posting more on finished paintings in the subsequent post.
Have a great week.
So it’s a new semester only one week in, I’m am sitting in my studio listening to Yiruma trying to be more profound in writing.
Also, It’s been a while I posted about my view on the art world, in fact, all this time helped in my understanding of the art world because I got to learn about more contemporary artists’ in diaspora; how they see the world through art, there was a good progression on my body work and I was opportune to show it to the world and I experienced some of my favorite art from contemporary artists’ one on one while I was in Miami for the Art Basel fair. At this fair which takes place once a year, I became the judge of what I wanted to see which made my trip awesome. For instance, an artwork is successful when it is not a total mirror of the society but shares the same intensity as the society visually. I’m intrigued by a work of art when it is ambiguous, this makes me ask questions as a viewer and a maker. In addition, these are the choices I make when approaching a conceptual art and an aesthetic art, I tend to spend more time on the former than the later not because it is better than the later but because it engages my mind as a viewer.
During this period, I commenced the act of looking back into art history where I was fascinated by Michelangelo Merisi de Caravaggio. Caravaggio was a big influence on the baroque and early renaissance era, his art greatly influenced artists’ that practiced after him during this era. Also, Caravaggio’s style of pictorial composition was quintessential to his era and even now; this is because “he wanted the canvas he worked on to define the limits of pictorial space; he wanted to create a real presence in his own real space.” (Working space, Frank Stella, pg. 23.)
In the light of this, my projects were centered on the notion of creating a real presence of an artwork in space, transforming my canvas into an object so the viewers become more aware of these objects. To illustrate, in Caravaggio’s painting “supper at Emmaus (c. 1600 – 01)”, the painting does more in relation to the pictorial space, it becomes part of the viewers own real space because of the artists’ use of space. Likewise, in my projects, the sculptural form I use creates the presence of the artwork in space.
This term my work is going to progress on using this notion of a painting as an object to explore more on my subject of the tranquil and chaos. How do I achieve this? Hmm!!! I would definitely experiment more. Sit tight and enjoy the ride.
Happy Founders Day!
Hi there, I'm an MFA candidate at Georgia Southern University. I enjoy creating and when I'm not, cycling is the therapy. Have a good time reading.