23.6.10
20.6.10
Wild Speculation
"I Believe in a world that objectively exists, and which I, in a wildly speculative way, am trying to capture"
Albert Einstein
15.6.10
Rue Renier Chalon
Here is a video of my current exhibition of drawings (and one painting) at Guest Room in Brussels. It's not the best quality video but it gives an idea of the installation and the included works:
1.6.10
Brussels
A exhibition of drawings will open on the 10th of June at Guest Room/Contemporary Art, Brussels. Here is the invite:
24.5.10
12.5.10
30.4.10
26.4.10
Bihotz
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This coming weekend I will be flying to Dublin to hang my show at Rubicon Gallery. It opens on Wednesday 5th May. Here is the invite...
23.4.10
Things seen - Vuillard
Edouard Vuillard: Under the trees, 1897, oil on canvas, 53x67cm, held in the collection of the Museo Thyssen, Madrid.
17.4.10
Manifold
Here is a little painting, one of a number I will be showing in my forthcoming show titled Bihotz at Rubicon Gallery, Dublin.
Manifold, 2009, oil and acrylic on canvas, 35x25cm
16.4.10
8.4.10
Spider's touch
The spiders touch, how exquisitely fine!
Feels at each thread, and lives along the line.
Alexander Pope from the Essay on Man.
7.4.10
Petals on the ground...
Shadows and white petals on the ground which I observed while out for a walk the other day.
The application of paint: to define this a little...it is not expressionistic or the exaltation of gesture, it is not the drama of action painting either. The way one paints or makes something can so often seem like a parody of itself. So, perhaps for me, it could simply be a placement of material, of paint...colour. Making marks. Depositing and positioning something on a surface. Most importantly, it is touch. Through the hand and movement of the arm and body in time, the eyes touch the surface with the brush or implement. Accumulations. Leaving evidence of my time on the surface which becomes a painting. The images form organically like the growth of a tree. Tributes to themselves and the knowledge that the looking is never really done. And then the contradiction: trying to fix and hold still the fleeting moment and that which is always in flow. Leaves fall to the ground along with white petals and the shadows of branches slowly come and go...
6.4.10
3.4.10
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La Folie du Jour
Can I describe my trials? I was not able to walk, or breathe, or eat. My breath was made of stone, my body of water, and yet I was dying of thirst. One day they thrust me into the ground; the doctors covered me with mud. What work went on at the bottom of that earth! Who says it's cold? It's a bed of fire, it's a bramble bush. When I got up I could feel nothing. My sense of touch was floating six feet away from me; if anyone entered the room, I would cry out, but the knife was serenely cutting me up. Yes, I became a skeleton. At night my thinness would rise up before me to terrify me. As it came and went it insulted me, it tired me out; oh, I was certainly very tired.
From The Madness Of The Day by Maurice Blanchot 1973, translated by Lydia Davies: Station Hill Press.
From The Madness Of The Day by Maurice Blanchot 1973, translated by Lydia Davies: Station Hill Press.
22.3.10
Crisscrossed
But shadow enlivened by atoms of sunlight
Constantly crisscrossed by sleepless flies.
Francis Ponge from Mute Objects of Expression
Constantly crisscrossed by sleepless flies.
Francis Ponge from Mute Objects of Expression
21.3.10
Hoy en el estudio...
Two paintings practically finished. In fact, the darker of the two (shown at an earlier stage on the blog) really is finished. Both are oil, spray paint and collage on linen:
9.3.10
Two Fold Frame
... A twofold frame of body and mind./
The state to which I now allude was one/
In which the eye was master of the heart,/
When that which is in every single stage of life/
The most despotic of our senses gained/
Such strength in me as often held my mind/
In absolute dominion.
William Wordsworth, The Prelude
The state to which I now allude was one/
In which the eye was master of the heart,/
When that which is in every single stage of life/
The most despotic of our senses gained/
Such strength in me as often held my mind/
In absolute dominion.
William Wordsworth, The Prelude
3.3.10
Klezmer Tango
What I like about Tango is the way it threads different elements together: something highly refined, something very raw, different traditions, Spanish, Italian, French, Jewish....Jazz, the classical tradition....and a lot more. Here is an example of Klezmer Tango:
Daniel Melingo
I discovered the music of Daniel Melingo about a year ago. Wonderful stuff...the world of Tango...
25.2.10
20.2.10
15.2.10
10.2.10
Risk
"Risk is a quest, from occurence to occurence, in the infinity of possibilities"
George Bataille from Sur Nietzsche.
8.2.10
6.2.10
26.1.10
14.1.10
Three drawings
Photography usually only operates on one level. It is purely visual. The camera - an extension of the eye that is almost the passive receptor of the endless flow of ever accumulating images. A drawing or painting of a certain kind can be something really very different. It can integrate the eye with all our senses. One's body, through its movement is an interface with a manifold sensorial reality. Our hands see. Our eyes touch in a particular way the surface of paper. Something is brought into being...it is not just an image or representation (that would be too virtual). It is a kind of realm where one responds to the world in a special way. Through time the drawing unfolds, texture, the span of the hand (an intuitive measuring), the tensing of mortal muscle and bone. Flow and friction of the drawing implement on surface. Our mind should not be plagued by concepts here. Instead, through the making (and the viewing) of such works and processes it should learn how to attune these experiences of the here and now, collect them and learn how to see and feel them in a more intense way.
November - Bernhard, 2009, coloured pencil and holes on paper, 32.5x25cm
Shadows - Tree, 2009, coloured pencil and hole on paper, 32.5x25cm
Time Tree, 2009, coloured pencil and holes on paper, 32.5x25cm
November - Bernhard, 2009, coloured pencil and holes on paper, 32.5x25cm
Shadows - Tree, 2009, coloured pencil and hole on paper, 32.5x25cm
Time Tree, 2009, coloured pencil and holes on paper, 32.5x25cm
10.1.10
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