Great hangout last night with Jill, roshni, iain, alex, myself and les b........i really enjoyed seeing and hearing what the rest of the group have been up to .... it's a shame couldn't have been in both groups!! i struggled with techi side last night as i couldn't get into drive through hangout but have been following the groups work anyway so could follow what they were talking about. i didn't enjoy going first....
so if i enjoyed last. night so much why do i feel flat this morning?!! tired??
.. i'm finding this point in the course both interesting and frustrating as i feel i'm being pushed/pushing myself into discovering i really want ... i don't need definite outcomes, just general principles.

-Les noticed that i'm working my way through my ambiguous response to creating with a computer. Part of me loves this kind of work and part of me feels that it's cheating by not painting/collaging and yet i'm not prepared to spend time painting straight lines when a computer 'can do' and end result may not be what i want to have created... so feel trapped in middle. i also feel that because of my lack of training, i come to computer aided art work in a very naive way ... can i combine the two?? and do i want to just sit at my computer??.. also why not see the computer/printer/scanner etc. as a tool in the same way as canvas, paint and brushes??? give them the same weight of reference?? ... why reinvent the wheel?? ... maybe because some digital art is too clinical and measured (emotionless??)
-Projection of work or virual gallery was mentioned (which has crossed my mind since starting this course ...but panic...but what do i do for open studios/ local exhibitions etc.)

-a question that resonated with me (raised in response to roshni's? work) was 'where am i taking my audience?', with implications therefore about what is my story that i'm telling ... and where does that fit with quote below ... which i kinda agree with ... as i think some-one buys a painting because it holds meaning for them.

The artist should never contemplate making a work of art that is about something; a successful work of art can only ever be about nothing. The artist’s complete negation of intent thus creating a reflective surface into which the critic, curator or collector can gaze and see only himself.

— Sol LeWitt

- See more at: http://heathwest.tumblr.com/#sthash.421iUsbP.dpuf

''The artist should never contemplate making a work of art that is about something; a successful work of art can only ever be about nothing. The artist’s complete negation of intent thus creating a reflective surface into which the critic, curator or collector can gaze and see only himself ''. Sol LeWitt - See more at: http://heathwest.tumblr.com/#sthash.421iUsbP.dpuf

-another statement that Les made which stood out for me, was the difference between art we like (ie other arists work) and art we ourselves make. ... strange but i've never really thought about this one!!

-phrase to take away with me - looking: through layers/obscuring images/looking underneath. My initial response felt a bit cool/unenthusiastic yet it was quite an interesting comment seeing my final slide didn't show in presentation and this was the point I had reached on the day of crit!

.... think i'm just beginning to see a path ... just use digital (with maybe imported art photo/scan) and play with programmes??!! ... virual gallery or printed onto acrylic?? (think i need to ditch initial proposal for making layered painting/collage artwork, at least for time being as that's complicating things)

- just become aware of use of studio in Scarborough for £45/month in art complex .. need to think about this one.
- also discovered lecturing job in art on a-n, at York which i dreamt was being advertised about 6 weeks ago which i even checked out on website then and found nothing ... closing date is tomorrow!!

............... need to go off task now and explore.... start with patternbank blog and see what inspires me.....book on sean scully arrived but i daren't read yet as everything will become striped!!

Spring/Summer 2015 Print Trend Report Part 2 PDF Download trend forecasts

Spring/Summer 2015 Print Trend Report Part 2 PDF Download trend forecasts

julia dault

Julia Dault

heath west http://heathwest.net http://heathwest.tumblr.com/

HEATH WEST folds Inkjet print on watercolor paper, acrylic on wood, acrylic case, hardware

hi, thank you for asking this—i started reading deleuze in architecture school, and immediately found his ideas driving what i wanted to do spatially and socially, not just with design, but in life as a whole. from his book with guattari, what is philosophy? where they explain that philosophy is the creation of concepts, ideas push us forward into new territories, to logic of sensation, a reading of the energies in francis bacon’s paintings. art criticism as philosophy, and vice versa. then there are his books on cinema, and bergson, and masochism (hello!), and the a-z interviews (these are incredible, by the way)—so, there isn’t one single driving influence from deleuze, but multiple. they can be found, albeit abstractly, in pixelated rgb template distortions to the material properties of the transparent, reflective acrylic that captures your image and your context in the work itself.

what i’m currently reading doesn’t speak to me as personally as a book by deleuze, and writing this response has made me realize that i probably should read him instead. so, thanks again for asking this. i’ll leave you with this quote from his book on the baroque, the fold, a useful summation of his thought…

“I am forever unfolding between two folds, and if to perceive means to unfold, then I am forever perceiving within the folds.”

- See more at: http://heathwest.tumblr.com/#sthash.421iUsbP.dpuf

ilikebuttsyup: How do you make you're work? And what you're creative proses behind it?

making involves an inkjet printer, watercolor paper, acrylic, paint, and wood. but for the digital work, i’ve been using openframeworks and processing, with photoshop.

as for my ‘creative proses’ behind it, they’ve always been utopian, social, and philosophical. ...(bk below)

- See more at: http://heathwest.tumblr.com/#sthash.421iUsbP.dpuf

vsevolodkpopov: Hello, I'd like to ask you more about your work's relationship to Gilles Deleuze, since you mentioned him. I've enjoyed following you on tumblr, and I do greatly enjoy Deleuzian post-structuralism. If you have a spare moment to re-iterate your project, I'd be very grateful! Thanks. hi, thank you for asking this—i started reading deleuze in architecture school, and immediately found his ideas driving what i wanted to do spatially and socially, not just with design, but in life as a whole. from his book with guattari, what is philosophy? where they explain that philosophy is the creation of concepts, ideas push us forward into new territories, to logic of sensation, a reading of the energies in francis bacon’s paintings. art criticism as philosophy, and vice versa. then there are his books on cinema, and bergson, and masochism (hello!), and the a-z interviews (these are incredible, by the way)—so, there isn’t one single driving influence from deleuze, but multiple. they can be found, albeit abstractly, in pixelated rgb template distortions to the material properties of the transparent, reflective acrylic that captures your image and your context in the work itself.
what i’m currently reading doesn’t speak to me as personally as a book by deleuze, and writing this response has made me realize that i probably should read him instead. so, thanks again for asking this. i’ll leave you with this quote from his book on the baroque, the fold, a useful summation of his thought…
“I am forever unfolding between two folds, and if to perceive means to unfold, then I am forever perceiving within the folds.”
- See more at: http://heathwest.tumblr.com/#sthash.421iUsbP.dpuf

Michael Staniak
Image DNA, 2014
Steve Turner Contemporary, Los Angeles
“These works explore a new aesthetic in painting, one which is influenced by digital technologies, including touch pads, smart phones, personal computing and the Internet. Technologies such as these are enabling a new kind of authorship, where everyone from the professional to the amateur image-maker has access to creative tools and viral methods of distribution. Thus, a myriad of instant digital creations have begun to circulate on such sites as Tumblr and ~~Facebook~~ (my emphasis added). There the focus is not on the origin of an image or information about its creator, but rather, the focus is on the steady flow of content. Images are curated and recreated— they constantly evolve with seemingly no beginning or end. Easily appropriated or deleted, images on the Internet are now as much omnipresent as they are fleeting.
The paintings in “Image DNA” all share some common attributes. While the initial work was inspired by digital imagery in general, each subsequent work follows from the one that preceded it. The thread might be a specific painting technique, a found Internet image, or a digital drawing program. The result is a suspension of our ability to distinguish between digital and physical.”
- See more at: http://heathwest.tumblr.com/#sthash.421iUsbP.dpuf

ilikebuttsyup: How do you make you're work? And what you're creative proses behind it? making involves an inkjet printer, watercolor paper, acrylic, paint, and wood. but for the digital work, i’ve been using openframeworks and processing, with photoshop.
as for my ‘creative proses’ behind it, they’ve always been utopian, social, and philosophical.
- See more at: http://heathwest.tumblr.com/#sthash.421iUsbP.dpuf

The Fold

Leibniz and the Baroque

1992

•

Author:

Gilles Deleuze
Translated by Tom Conley
Foreword by Tom Conley

In The Fold, Gilles Deleuze argues that Leibniz’s writings constitute the grounding elements of a Baroque philosophy and of theories for analyzing contemporary arts and science. A model for expression in contemporary aesthetics, the concept of the monad is viewed in terms of folds of space, movement, and time. Similarly, the world is interpreted as a body of infinite folds and surfaces that twist and weave through compressed time and space. According to Deleuze, Leibniz also anticipates contemporary views of event and history as multifaceted combinations of signs in motion and of the “modern” subject as nomadic, always in the process of becoming.

A significant and needed contribution. Proposes a radically new conception of the notion of Baroque and, at the same time, is a new interpretation of Leibniz’s work.

— Reda Bensmaïa

Michael Staniak http://steveturnercontemporary.com/blog/2014/02/18/michael-staniak/

Image DNA

March 21 – April 26, 2014

Steve Turner Contemporary is pleased to present Image DNA, a solo exhibition by Melbourne-based artist Michael Staniak, featuring paintings that seamlessly combine attributes of analog and digital processes. Although Staniak creates the paintings mostly by hand—he builds up texture with uneven layers of plaster and then paints the surface in a range of ways—the paintings bear an uncanny resemblance to flat digital prints. Indeed, one must view the works up close to perceive any texture or depth, and as such, they behave like contemporary trompe l’oeil paintings that baffle the senses. Some paintings do however utilize digital methods of output and in so doing create a dialogue between the two modes of production.
These works explore a new aesthetic in painting, one which is influenced by digital technologies, including touch pads, smart phones, personal computing and the Internet. Technologies such as these are enabling a new kind of authorship, where everyone from the professional to the amateur image-maker has access to creative tools and viral methods of distribution. Thus, a myriad of instant digital creations have begun to circulate on such sites as Tumblr and Facebook. There the focus is not on the origin of an image or information about its creator, but rather, the focus is on the steady flow of content. Images are curated and recreated— they constantly evolve with seemingly no beginning or end. Easily appropriated or deleted, images on the Internet are now as much omnipresent as they are fleeting.
The paintings in Image DNA all share some common attributes. While the initial work was inspired by digital imagery in general, each subsequent work follows from the one that preceded it. The thread might be a specific painting technique, a found Internet image, or a digital drawing program. The result is a suspension of our ability to distinguish between digital and physical.
Michael Staniak (born 1982, Melbourne) earned a BFA and an MFA from the Victorian College of the Arts, Melbourne as well as a BA from Middle Tennessee State University. He has had solo exhibitions at Blockprojects, Melbourne and Artereal Gallery, Sydney. His work has been included in group shows at Horton Gallery and Charles Bank, New York. Image DNA is his first solo exhibition in the United States.

Rosi Robinson journal (MA Fine Art, OCA)

Monday, 12 May 2014

********* NEW BLOG at rosirobinson1.blogspot.com

Friday, 2 May 2014

EP WK5 D5 (friday)

Thursday, 1 May 2014

EP WK5 D4(wed/thurs)

Tuesday, 29 April 2014

EP WK5 D3 (tues)

— Sol LeWitt

-another statement that Les made which stood out for me, was the difference between art we like (ie other arists work) and art we ourselves make. ... strange but i've never really thought about this one!!

-phrase to take away with me - looking: through layers/obscuring images/looking underneath. My initial response felt a bit cool/unenthusiastic yet it was quite an interesting comment seeing my final slide didn't show in presentation and this was the point I had reached on the day of crit!

The Fold

Leibniz and the Baroque

Michael Staniak http://steveturnercontemporary.com/blog/2014/02/18/michael-staniak/

Image DNA

MA2