Sadie Coles, London: Laura Owens
Tate, London: Munch
‘For Esme with love and squalor’
EGGS / o I ❤ KIPPENBERGER 0
paddling pool wit. belittling big characters
“Lucian Freud was not an artist” QUOTE PHILIP LOUIS GLAZER
(“Jenny Saville is a good painter but is not an exciting artist” … . . she is not dealing with enthusing concepts.) I do not agree. I think paint and straight forward depiction can be enough if beautifully executed.
(Merlin Carpenter: example of an artist who creates bodies of work which work in gallery context but of which individual works are unsuccessful-
Look at outlines by Alice Neel
Alice Neel was one of the great American painters of the twentieth century. She was also a pioneer among women artists. A painter of people, landscape and still life, Neel was never fashionable or in step with avant-garde movements. Sympathetic to the expressionist spirit of northern Europe and Scandinavia and to the darker arts of Spanish painting, she painted in a style and with an approach distinctively her own.
pastel colours….pretty enticing exterior, ominous upon closer inspection. interesting, layered, ensnaring, like Nancy Spero’s work
i’m sorry she has died already
.lucy Mckenzie, Kai Althof; poeticy texty and Louise Bourgeois- more psychological
my notions about ones own placement within the universe
betwixt inner and outer harmony
mira schor on Ida Applebroog. WET: Mira Schor brings a maverick perspective and provocative voice to the issues of contemporary painting, gender representation, and feminist art.
IT FEELS COLD, LIKE WE’RE AT HIGH ALTITUDE
THE LIGHT IS LOW, FROM THE WEST AT SUNSET, WARM
I WANT TO SUN TO BE PRESENT WITHOUT IN BEING ACTUALLY PRESENT
a painting with dads black old hair frizz in it and edward as a young unformed person together….
tropic of cancer lines
night and day
sun and moon
BI POLAR AS a wide topic
bi polar as affecting my family
tell people what my paintings are about?
i could go more Tracey Emin
i like OPEN
its delicate and fragile and raw though so it may unfold as i am ready
i could continue being a little bit cryptic and letting my paintings allude to the most disturbing thing to me: SHOCK
or things being different beneath the surface to how they appear initially.
actually that’s not what i want to do
what i do is present something in a non straight forward way because it is more interesting and poetic
i write upside down because then the words are less obvious and what and how i write describe and express an element of my narrative.
post further thoughts and talks last night:
i am not a performer, i don’t want to make my work in to anything extravagantly shocking
I want my painting to communicate
i am constantly striving to enhance and consolidate and the language my paintings do speak, to enlarge it to make it clearer, more succinct, more definite,
s t r o n g e r
i want my paintings to communicate on their own-
that is when paintings are exciting- painting is exciting
Paintings speak a different language to thought and voice, words and vocabulary are an easy form of communication to use and understand but they are not as descriptive as painting and the different forms of language are so different
I don’t want to try and describe paintings with an insufficient word based language
they speak their own language and i want to develop my use of that language to be the most powerful language that i know how to you and that people can receive from me.
i don’t think there needs to be a cross over
or the different descriptions of something- that a painting gives and that words can give
need to be presented as very separate things i think
alphabetic poetic words, with, beside amongst other painted marks, depictions, figures are part of an amalgamated language which forms painted communication.
A piece of text, could be about trying to give a parallel description of the content of the painting, this is not an idea which i want to rely on. I think words could be useful as a separate form of description presented as information with a painting if! they give some information that could not be obtained through looking and feeling the paintings own language.
I don’t want my paintings to be perceived as different to what they are
due to an audience having read some words and applied vocabulary based ideas to them.
i want to be touched and touch by the pure painting power that i create