First drawings with my NeoLucida:
Dropped platter ceramic technique
https://www.youtube.com/watch?v=iTeBhbSdDhE&feature=youtube_gdata_player
The problem of showing your work...
The problem with making work is finding the right space to show it. "Abstract Heads:Pentecost" (2014) is my most ambitious work to date. 15 sculptures and 45 unique prints, which will need a sizeable and appropriate space to show them in.
If you have any ideas, let me know!
El problema de hacer las obras es encontrar el espacio adecuado para mostrarlas. "Cabezas Abstractas: Pentecostés" (2014) es mi obra más ambiciosa hasta la fecha. 15 esculturas y 45 grabados únicos, que tendrán un espacio considerable y adecuado para mostrarlas.
Si usted tiene alguna idea, que me haga saber!
Here are some photos from the studio:
Aquí tiene algunas fotos del taller:
If you have any ideas, let me know!
El problema de hacer las obras es encontrar el espacio adecuado para mostrarlas. "Cabezas Abstractas: Pentecostés" (2014) es mi obra más ambiciosa hasta la fecha. 15 esculturas y 45 grabados únicos, que tendrán un espacio considerable y adecuado para mostrarlas.
Si usted tiene alguna idea, que me haga saber!
Here are some photos from the studio:
Aquí tiene algunas fotos del taller:
The problem of bases...
Having made the Abstract Heads for "Pentecost" I spent some time looking at how to give them some kind of base or plinth. Here are some pages from my sketchbook:
Después de haber hecho los Cabezas Abstractos por "Pentecostes" pasé algún tiempo pensando cómo darles algún tipo de base o peana. Estas son algunas de las páginas de mi cuaderno de dibujo:
In the end, I chose a simple solution to the problem:
Al final, opté por una solución sencilla para el problema:
Después de haber hecho los Cabezas Abstractos por "Pentecostes" pasé algún tiempo pensando cómo darles algún tipo de base o peana. Estas son algunas de las páginas de mi cuaderno de dibujo:
In the end, I chose a simple solution to the problem:
Al final, opté por una solución sencilla para el problema:
Completed Prints for Pentecost 2014
With the help of Cameron Fraser I have completed the 15 triptych prints for Pentecost, a total of 45 unique prints. Here are some photos of the prints drying on the studio floor.
Con la ayuda de Cameron Fraser, he completado las 15 "trípticos" de Pentecostés, en total, 45 grabados únicos. Aquí están algunas fotos de los grabados que se secan en el suelo del estudio.
Con la ayuda de Cameron Fraser, he completado las 15 "trípticos" de Pentecostés, en total, 45 grabados únicos. Aquí están algunas fotos de los grabados que se secan en el suelo del estudio.
Jeff Koons interview with Mark Lawson
The artist Jeff Koons broke the record for the highest price paid for a work of art by a living artist, when his Balloon Dog (Orange) sold at auction for $58,405,000 last year. A major retrospective of Koons's work is opening at the Whitney Museum of Art in New York in 2014. Jeff Koons talks to Mark about whether the vast prices paid for his art affect his work, and explains why we should not be afraid of contemplating contemporary art work.
I think communication’s important and to try to inform people that they’re perfect and that art demands nothing of them. What art actually is, is a realisation of their own possibilities in this world, to have their parameters expand and to have their life experience become vaster and that’s what art is, art is about your possibilities it’s nothing other than that.
I think that art shouldn’t demand anything of anybody and that when you are viewing something, that when you are confronting it, nothing is demanded of you, if you happen to have information that could help you have more connections, have greater consciousness of this interaction, that’s wonderful and you can find even more significance in that experience. There are no judgements, there is no place for judgements in this world and by removing judgements you are able to remove anxiety. You can have a much greater sense of consciousness.
http://www.bbc.co.uk/programmes/b03nt8jf time:21:40
I think communication’s important and to try to inform people that they’re perfect and that art demands nothing of them. What art actually is, is a realisation of their own possibilities in this world, to have their parameters expand and to have their life experience become vaster and that’s what art is, art is about your possibilities it’s nothing other than that.
I think that art shouldn’t demand anything of anybody and that when you are viewing something, that when you are confronting it, nothing is demanded of you, if you happen to have information that could help you have more connections, have greater consciousness of this interaction, that’s wonderful and you can find even more significance in that experience. There are no judgements, there is no place for judgements in this world and by removing judgements you are able to remove anxiety. You can have a much greater sense of consciousness.
http://www.bbc.co.uk/programmes/b03nt8jf time:21:40
In memory, childhood, and dream.
Only a thoughtless observer can deny that correspondences come into play between the world of modern technology and the archaic symbol-world of mythology. Of course, initially the technologically new seems nothing more than that. But in the very next childhood memory, its traits are already altered. Every childhood achieves something great and irreplaceable for humanity. By the interest it takes in technological phenomena, by the curiosity it displays before any sort of invention or machinery, every childhood binds the accomplishments of technology to the old worlds of symbol. There is nothing in the realm of nature that from the outset would be exempt from such a bond. Only, it takes form not in the aura of novelty but in the aura of the habitual. In memory, childhood, and dream. Δ Awakening Δ [N2a,1]
Walter Benjamin 1892 - 1940
The text for "The Folly of Learning"
Walter Benjamin 1892 - 1940
The text for "The Folly of Learning"
BBC Radio 4 - Front Row, Amy Winehouse; Alex Gibney on Wikileaks.
BBC Radio 4 - Front Row, Amy Winehouse; Alex Gibney on Wikileaks.:
"Nostalgia is often a cover for creative deficit" Rosie Swash
"Nostalgia is often a cover for creative deficit" Rosie Swash
Choosing Paper
In my test printing I used the following papers:
1. Mould-made Watercolour Board Hahnemühle
300 gsm - matt, rough and hot pressed
The mould-made Hahnemühle watercolour board 300 gsm is natural white, acid free, lightfast and extremely resistant to ageing. The Pads are glued and gauzed to ensure flatness when wet. All sheets contain the “Cockerel” watermark and have 4-sided deckle edges.
Hahnemuehle Website
2. Somerset® Printmaking Paper
100% Cotton - Highest quality papermaking material with excellent archival properties
Mould Made - Superior surface stability.
Acid Free & Archival -The paper will last for hundreds of years (in good storage conditions) and won’t discolour or fall apart.
Deckle Edges - The 4 deckle edges are visually very beautiful, and are perfect for float framing.
Beautiful Random Surface Texture - Surface enhances the finished print
Watermarked - For authenticity
Suitable for Multiple Printmaking Techniques
Somerset is suitable for block/relief printing, embossing, intaglio/etching, hand lithography, laser printing, letterpress, silkscreen/serigraphy, pastel and charcoal
Somerset Website
3. Super Alfa de Guarro Casas
El papel Super Alfa está compuesto en un 60% por fibras algodón, presenta marca al agua y barbas por los 4 lados
Tiene un color ligeramente amarfilado con filigrana.
Tamaño habitual del pliego es de 76*112 cm, con un gramaje de 250 gr, ideal para grabado aunque puede tener otros usos, especialmente indicado para Grabado al buril, Aguatinta y Aguafuerte. La textura del Super Alfa es rugosa.
Super Alfa Website
4. Fabriano Rosaspina
Made with qualitatively high-level raw material (60% Cotton). Rosaspina is a mould made paperboard and suitable for all printmaking techniques (etching, lithography and silk-screening).
The watermark runs parallel to the two larger sides of the sheet and reproduces the Fabriano trademark and logo.
The two larger sides are deckled.
Rosapina Website
5. BFK Rives is a 100% cotton, mouldmade paper which is acid free buffered. Its smooth surface and light sizing make it ideal for most artistic and printing techniques. BFK Rives has four deckle edges and a registered watermark.
Excellent for: Lithography, Intaglio Etching, Silkscreen, Linocut, Collotype and Drawing.
Also for: Typography, Embossing and Foil Stamping.
Advantages:
• 100% cotton for optimal absorption of water, a paper strength increased and the unique feel.
• Quality Conservation
• Smooth the delicate grain.
• Hue pure white, obtained naturally and does not yellow over time..
• 4 deckle edges, watermarked.
• Wide choice of weights: 210 gsm to 300 gsm.
BFK Website
6. Velin Arches ® is a 100% cotton, acid-free fine art printing paper. The paper is mouldmade using carefully selected cotton fibers that give the paper a sensual touch and strong resistance.
Its surface is marked and has a smooth grain similar to that of handmade papers. It is a watermarked paper, the four deckle edges, ideal for drawing, editing and art prints.
It is available in several weights from 160 gsm to 400 gsm.
Advantages:
• 100% cotton for optimal absorption of water, a paper strength increased and a unique feel.
• Quality preservation.
• Grain marked harmonious.
• Natural white that will not yellow over time.
• 4 deckle edges, watermarked.
• Wide choice of weights: 160 gsm to 400 gsm.
Velin Arches Website
1. Mould-made Watercolour Board Hahnemühle
300 gsm - matt, rough and hot pressed
The mould-made Hahnemühle watercolour board 300 gsm is natural white, acid free, lightfast and extremely resistant to ageing. The Pads are glued and gauzed to ensure flatness when wet. All sheets contain the “Cockerel” watermark and have 4-sided deckle edges.
Hahnemuehle Website
2. Somerset® Printmaking Paper
100% Cotton - Highest quality papermaking material with excellent archival properties
Mould Made - Superior surface stability.
Acid Free & Archival -The paper will last for hundreds of years (in good storage conditions) and won’t discolour or fall apart.
Deckle Edges - The 4 deckle edges are visually very beautiful, and are perfect for float framing.
Beautiful Random Surface Texture - Surface enhances the finished print
Watermarked - For authenticity
Suitable for Multiple Printmaking Techniques
Somerset is suitable for block/relief printing, embossing, intaglio/etching, hand lithography, laser printing, letterpress, silkscreen/serigraphy, pastel and charcoal
Somerset Website
3. Super Alfa de Guarro Casas
El papel Super Alfa está compuesto en un 60% por fibras algodón, presenta marca al agua y barbas por los 4 lados
Tiene un color ligeramente amarfilado con filigrana.
Tamaño habitual del pliego es de 76*112 cm, con un gramaje de 250 gr, ideal para grabado aunque puede tener otros usos, especialmente indicado para Grabado al buril, Aguatinta y Aguafuerte. La textura del Super Alfa es rugosa.
Super Alfa Website
4. Fabriano Rosaspina
Made with qualitatively high-level raw material (60% Cotton). Rosaspina is a mould made paperboard and suitable for all printmaking techniques (etching, lithography and silk-screening).
The watermark runs parallel to the two larger sides of the sheet and reproduces the Fabriano trademark and logo.
The two larger sides are deckled.
Rosapina Website
5. BFK Rives is a 100% cotton, mouldmade paper which is acid free buffered. Its smooth surface and light sizing make it ideal for most artistic and printing techniques. BFK Rives has four deckle edges and a registered watermark.
Excellent for: Lithography, Intaglio Etching, Silkscreen, Linocut, Collotype and Drawing.
Also for: Typography, Embossing and Foil Stamping.
Advantages:
• 100% cotton for optimal absorption of water, a paper strength increased and the unique feel.
• Quality Conservation
• Smooth the delicate grain.
• Hue pure white, obtained naturally and does not yellow over time..
• 4 deckle edges, watermarked.
• Wide choice of weights: 210 gsm to 300 gsm.
BFK Website
6. Velin Arches ® is a 100% cotton, acid-free fine art printing paper. The paper is mouldmade using carefully selected cotton fibers that give the paper a sensual touch and strong resistance.
Its surface is marked and has a smooth grain similar to that of handmade papers. It is a watermarked paper, the four deckle edges, ideal for drawing, editing and art prints.
It is available in several weights from 160 gsm to 400 gsm.
Advantages:
• 100% cotton for optimal absorption of water, a paper strength increased and a unique feel.
• Quality preservation.
• Grain marked harmonious.
• Natural white that will not yellow over time.
• 4 deckle edges, watermarked.
• Wide choice of weights: 160 gsm to 400 gsm.
Velin Arches Website
Embossing
With the help of Cameron Fraser (http://www.fraserartworks.com/) I did a test emboss. This looks very promising, and after a serious testing session, I should be able to get cracking with making a series of prints before welding the sculptures of Pentecost. http://www.fraserartworks.com/ ) me hizo una prueba de relieve. Esto se ve muy prometedor, y después de una sesión de pruebas serias, debería ser capaz de darle caña a la fabricación de una serie de impresiones antes de soldar las esculturas de Pentecost.
Modern
"We find ourselves, in other words, in a late-flowering offshoot of one of the great modernist ambitions, which reached full bloom in "Ulysses": the urge to try out every conceivable style, not as a show of skill but in a bid to grasp a world so rich that it threatens, or rejoices, to elude our clutches."
Home Fronts by Anthony Lane p83 The New Yorker Magazine 29 April 2013
Howard Brenton on Conceptual Art
"...well he's a conceptual artist, and like all conceptual artists he takes experience and transmutes it into a more general statement about life. The difference between our conceptual artists and him, I think, is that many in this country and in the West, they concentrate it on themselves and their art is me, me, me. With him, his art is us, us, us. It looks outward."
Howard Brenton on Ai Weiwei
Front Row BBC Radio4 17/4/13
http://www.bbc.co.uk/programmes/b01rvpvk
Howard Brenton on Ai Weiwei
Front Row BBC Radio4 17/4/13
http://www.bbc.co.uk/programmes/b01rvpvk
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