Thought of the Day

I don't believe in morality, but I believe in ethical conduct as set out by His Holiness the Dalai Lama: "Ethical conduct = a way of behaving that respects others’ right to be happy".
Showing posts with label Visual Arts. Show all posts
Showing posts with label Visual Arts. Show all posts

Sunday, 11 April 2010

Tattoo Me

Pain doesn't scare me - it's part of the ritual of getting a tattoo. I am not concerned with its eternity either as I think a tattoo will become part of you in the same way your ear or a scar becomes you. What it is crucial is that it must be perfectly executed. So, to find the right studio, with a relaxing and non-intimidating ambience, is paramount. The good news is that I think I found it! Good Times Tattoo is arguably the best studio in London with a waiting list of months, if not years, and proposes a new concept: it is like a tattoo SPA where you can relax in a fashionable environment inspired by kitsch Mexican décor  and injected with a good dose of irony. 


The subject and position is what has been nagging me for years. I would love to have one on my forearm or wrist, but I am not sure I am ready for such an exposed part of the body. My second and third tattoo (tattoos always go in odd numbers) have to be on my back. The other day I visualised a full coloured lotus flower on my lower back and three butterflies  of different sizes taking a flight from the lotus and flying over my side torso, up to my armpit. And I had nice feelings about it. I love butterflies and the lotus is a very symbolic flower in Buddhism, Hindu tradition and, of course, in yoga. 

Here a few inspirations of pretty butterflies and lotus... 


Source: Rhanuii tattoes

Friday, 12 February 2010

Sandra Suy

From the header doesn't come as a surprise that I am an admirer of Sandra Suy's fashion illustrations. She is such a talented artist from Barcelona. Her style is ethereal and her choice of colours (passion colours against muted backgrounds) sublime. When the time comes, I will make sure that my new home's walls will be adorned by her creations. 

I could have posted her entire portfolio... All stunning illustrations. 
And this is lovely Sandra at work...

Sunday, 17 January 2010

Thursday, 17 December 2009

Sylvia Plath Series


Totally in awe for Justin Fitzpatrick's series on Sylvia Plath! The sense of anguish and the mythological references permeating Sylvia's poems are visually conveyed in these portaits. The geometrical enclosures and oniric atmospheres are reminiscent of De Chirico's works.  I am sure Justin was familiar with Sylvia’s admiration for De Chirico: her art-poems are directly influenced by the Greek/Italian artist. This reminded me to go back to The Estorik Collection, a gallery preserving Italian modern art, in the New Decade. 

The Disquieting Muses


De Chirico  

Mother, mother, what illbred aunt
Or what disfigured and unsightly
Cousin did you so unwisely keep
Unasked to my christening, that she
Sent these ladies in her stead
With heads like darning-eggs to nod
And nod and nod at foot and head
And at the left side of my crib?

Mother, who made to order stories
Of Mixie Blackshort the heroic bear,
Mother, whose witches always, always,
Got baked into gingerbread, I wonder
Whether you saw them, whether you said
Words to rid me of those three ladies
Nodding by night around my bed,
Mouthless, eyeless, with stitched bald head.

In the hurricane, when father's twelve
Study windows bellied in
Like bubbles about to break, you fed
My brother and me cookies and Ovaltine
And helped the two of us to choir:
"Thor is angry: boom boom boom!
Thor is angry: we don't care!"
But those ladies broke the panes.

When on tiptoe the schoolgirls danced,
Blinking flashlights like fireflies
And singing the glowworm song, I could
Not lift a foot in the twinkle-dress
But, heavy-footed, stood aside
In the shadow cast by my dismal-headed
Godmothers, and you cried and cried:
And the shadow stretched, the lights went out.

Mother, you sent me to piano lessons
And praised my arabesques and trills
Although each teacher found my touch
Oddly wooden in spite of scales
And the hours of practicing, my ear
Tone-deaf and yes, unteachable.
I learned, I learned, I learned elsewhere,
From muses unhired by you, dear mother,

I woke one day to see you, mother,
Floating above me in bluest air
On a green balloon bright with a million
Flowers and bluebirds that never were
Never, never, found anywhere.
But the little planet bobbed away
Like a soap-bubble as you called: Come here!
And I faced my traveling companions.

Day now, night now, at head, side, feet,
They stand their vigil in gowns of stone,
Faces blank as the day I was born,
Their shadows long in the setting sun
That never brightens or goes down.
And this is the kingdom you bore me to,
Mother, mother. But no frown of mine
Will betray the company I keep.

Sylvia Plath 




From the top left: Sylvia Plath and the Worry Bird; Morning Song; Portrait of the Sylvia Plath as Phoenix; Sylvia Plath and the Resurrection Blues; Sylvia Plath and the Burning Chair; The Arrival of the Bee Box. 

Sunday, 29 November 2009

SLUG


The Slug, by Anish Kapoor, is the work that most amazed me at his retrospective currently hosted at the Royal Academy of Arts. A shiny vulva (?) originates a wiggling tube resembling Laocoön's limbs -- an experience that repulsed while attracting the viewer. Laocoön and His Sons is a work that still troubles me a great deal for its theatrical expression of sorrow, while the sensuous red lips seem to hold a dangerous spellbound.

Tuesday, 10 November 2009

The Secret Postcard's Artist

RCA Secret is an annual exhibition and sale of original postcard-sized art, made by professional artists, designers and illustrators, plus the Royal College of Art’s current postgraduate students.

The admission is free and the exhibition runs from 13th to 20th November. On 21st November they go on sale for one day only. Each postcard costs £40.



THE SECRET: The postcards are signed only on the reverse, so the author of each work remains a secret until after purchase, and the signature on the back is revealed.

Over 800 artists have donated work to RCA Secret 2009 so far, including Yoko Ono, Cornelia Parker, David Bailey, former Stone Roses guitarist John Squire, and animator Nick Park, as well as fashion designers Sir Paul Smith, Manolo Blahnik and Erdem. Many leading American artists have also contributed this year including Lawrence Weiner, John Baldessari and Alex Katz.

Find full details here.

Tuesday, 4 August 2009

"Painting with Scissors"

For Christmas last year my then-husband-to-be delighted me with a lithographic print by Henri Matisse: Nuit de Noel. I was thrilled and surprised. It was an unexpected gift.

Matisse used the gouaches découpés (or paper cut-outs) technique. He created around twenty cut-outs in the last period of his life, collected in his book Jazz. Although it is, arguably, not one of his finest artworks, I love them as they are both bi-dimensional and tri-dimensional at the same time. They are flat and yet seem to come to life and perforate the canvas or board. It is sweet to think that he invented this child-like technique when he was old and ill. Matisse said once that he was “painting with scissors”.
With the help of his gorgeous assistant Lydia Delectorskaya he would arrange and rearrange the coloured cut-outs and finally pin them on the walls to create a garden-like environment – his way of recreating freedom and beauty when he had to be confined indoors due to his illness.
Lydia
Cut paper collages gave him the opportunity to experiment with shapes, colours and compositions. They are buoyant with life even though were composed in the last months of his life. The vibrant colours corresponds to commercial printers ink colours.

The Clown (Jazz), 1943


Lagoon, 1944

Blue Nude, 1952

The Snail, 1953, bought by Tate Modern Gallery last year!


La Gerbe, 1953
Matisse also employed cut outs for the stained-glass windows of the Chapelle du Rosaire, a project he took on as a thank-you gesture to a young woman who had nursed him in Lyon in 1941 and later became a Dominican nun.
Chapelle du Rosaire
Nuit de Noel, one of his very last works, mimics a stained-glass window. Although it doesn’t attempt at any perspective or depth, the view that glimpses from the glass takes the viewer beyond the window into the stellar night of Christmas Eve.
I have spent months looking for the perfect frame and finally found this. I wanted an important frame which would remind the structure of an old-fashioned church window. Does it work? What do you think?

Saturday, 4 October 2008

I do I do I do

this past week has been a gown fitting tour de force. i decided to pack three appointments in a row and, as a consequence of this (bad call), i had to wake up bright and early (which i am not used to as i don't normally use an alarm clock) to leave work on time... i think i found the shape that suits me (and probably most of the bodies). i may have feven found the right dress. i am going to see some more in italy in november and then decide. this month i have three italian films booked (Gomorra, Quiet Chaos and A Perfect Day) and will finally go and watch The Dark Knight at the IMAX. valentina has invited me to a Diabolik night including a talk about "50's and 60's Western culture's fascination with exotica" and the screening of Diabolik indeed... intriguing. this afternoon i am going to use my tate membership for the first time to admire Rothko's works, and next week it will be Francis Bacon's turn. if time allows me, i would love to visit the new Saatchi Gallery which will reopen its doors on 9 october in the up-town area of Chelsea (and it's free admission). on 25 october the Affordable Art Fair is on again, but i am not sure whether i'll attend or not as last time i left my eyes on an artist whose work i decided not to buy with the prospect to purchase it this time around in the hope that my finances were more prosperous... but they are not. SIGH. this evening we are at Emiliano's house for a carbonara followed by drinks in Camden with Francesco & Hisano. i have two more dinners and a few drinks with work this month. food and drinks - the best way of socialising. next saturday we will be in Ascot but i have no hat. now, this is a BIG problem. it will be my first horse racing watching experience - steve took me to dog racing in one of our very first dates, but that was it. we have been climbing the ladder since. : ) i am going back to Brussels by the end of the month - potentially my last trip for a while and definitely my last business trip. we are going to celebrate the launch of a journal i commissioned last year, which should be fun, except for the early rise to travel back straight to work. and, dulcis in fundo, Koko is hosting a Battiato concert on 28th, which i can't miss... ; ) OK, off to dye my hair and finish off a few must-do chores... have a great weekend, blog readers!

Friday, 16 May 2008

The Moment Art Changed Forever

with Aurelie, friend, photographer, translator, fellow blogger and much more, i had the honour to have access to the airy member area of the tate for a light meal and pleasant chat before embarking in the visit of 13 rooms, filled with the most bizarre creations which sprang out of the mind of three (anti)artist - Man Ray, Picabia and Rose Selavie. in november 2005 i saw the dada exhibition at the pompidou centre with other french friend and ex-uni and fellow traveller federica. i remember the date so neatly because it is the same weekend we put the offer on our flat and we entered in a (for me long-distance) mini bid war which we eventually won. paris is for me repository of sweet memories. so, maga and i were quite sure that the london exhibition would have been a copy-cat of the french one. we were so wrong...

the tate presented a career excursus of the three men's career as individual painters as well as initiators of the DADA movement. also, unlike the french counterpart, stuff was not camped in one big room but
all the paintings, installations, nonsense, photos and ready-made objects were orderly displayed across 13 topical rooms (objects, light, eroticism, transparency, etc.), which we did not manage to cover in one go! so, we are going back tomorrow - the luxury of being a tate's member.

We spent a few minutes in front of this magistral work which rose much furore when it was first released.

Marcel Duchamp
Nude Descending a Staircase No.2 1912

Marcel Duchamp
Young Man and Girl in Spring, 1911

interesting way to depict a wife - just a tiny bit mysoginist:

Duchamp
The Bride Stripped Bare by her Bachelors, Even (The Large Glass) 1915-23

Francis Picabia
Daughter Born without Mother, 1916-17

i love this vampire-like portrait:

Man Ray
Marquise Casati, 1922

Francis Picabia
Conversation I, 1922


the infamous ready-made art:

Marcel Duchamp
Fountain, 1917 replica 1964


Saturday, 15 March 2008

@ affordable art fair of battersea, london

amongst the thousands of artworks on offer, one artist caught my attention: henry fraser, a scottish young painter who portraits boys. i am really tempted to invest in him as i have a strong feeling that he is set to become *esteemed*.

as steve observed, he uses a winning formula: the stylised figures with mouthless faces, neckless bodies and pointed noses own a cartoonish element, while their empathetic gaze is at once expressive (painful) and ironic (detached):

"In my work I endeavour to paint the soul. To make the invisible, visible. I hope to engage the viewer in reflecting on their own sense of being and mortality."
Henry Fraser


(c) Henry Fraser

The Great Houdini, (c) Henry Fraser

At the Monkey Bars, (c) Henry Fraser

David Barnett's Got a Box of Matches, (c) Henry Fraser

Blest (c) Henry Fraser

Enough, (c) Henry Fraser

Disgrace, (c) Henry Fraser

At the Beach. Nearly, (c) Henry Fraser

i believe that the strong expressionist quality of these paintings lies in the mastery of colour and brush. i am not sure how acquainted this artist is with schiele's artwork, but i can see strong similarities in the use of sanguineous splashes of red or green to suggest a human condition.

Sitting Woman with Legs, (c) Egon Schiele

the use of writing to emphasise a message is not unknown amogst contemporary artists, and the parallel with stella vine comes (to me) spontaneous:

Kate Moss (c) Stella Vine

unfortunately, i don't have a photo of the three exhibited works i had the pleasure to admire live in *quasi stendhal syndrome mode*. the *boy who is about to hang himself* reminded me of one picture by nara yoshimoto (see below) - whose art shares the same sketchy, sarcastic and dark features of fraser's work. however, fraser's boys show a more resigned attiutude, whereas nara's girls seem to be partly responsible of their own disgrace. in other words, they are victims of themselves and try to scorn their pain with defying looks.

Slight Fever, (c) Nara yoshimoto

the painting i was about to (but didn't) take home with me is called Mowdie, a scottish word for mole - so, a mole boy, who i renamed *the mad boy*. another close candidate was a shy boy with a stripy t-shirt, whose colours and look reminded me of loftino. : )

i just hope that these living artists are not *one-trick ponies* and I look forward to seeing their next brain-children.