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!!
julia dault
Julia Dault
Julia Dault
heath west http://heathwest.net http://heathwest.tumblr.com/
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
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
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 andFacebook (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
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
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
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
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 andFacebook (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
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
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
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 andFacebook (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
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
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
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
•
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.
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
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.
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 andFacebook (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
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
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
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 andFacebook (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
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
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
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 andFacebook (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
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
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
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