Making
no work
to do.
Making
know -work
to do
No work
To know
Making do
Making
to do
working, no
Monday, 9 February 2009
point, taken
Twenty years from now you will be more disappointed by the things that you didn't do than by the ones you did do. So throw off the bowlines. Sail away from the safe harbor. Catch the trade winds in your sails. Explore. Dream. Discover. (Twain)
Twenty minutes from now you will be more disappointed by the things that you didn't do than by the ones you did do. So throw off the bowlines. Sail away from the safe harbor. Catch the trade winds in your sails. Explore. Dream. Discover.
Thursday, 5 February 2009
Another
Since 1980, the subject and the medium of his work has been the brush stroke. Nares uses huge canvases or papers, on which he leaves the trail of his stroke, including some authentic splattering drops, with the swing of one movement. The oversized brushes he needs for this are made by himself, as well as the apparatus from which he suspends himself laying flat above the canvas.
His work is very spontanous, yet precise; there is no schedule that he follows. Sometimes he gets his perfect stroke on the first try, but usually he needs more repetitions to achieve the desired result, which might require a hundred or more tries. While it is true that each of his painting takes only a few seconds, they are repeated over hours and days. Immediately after the application of the paint, Nares decides if he is content with the result. If he isn’t, he wipes off the paint with a special squeegee, and tries again. To be able to use the canvases several times, he covers them with a smooth, grey primer.
In most cases, there is only one stroke per canvas or paper, which is usually and distinctly horizontal or vertical, but sometimes he combines similar strokes into groups, creating choreographic rhythms.
Nares’s work possesses a similarity to Asian calligraphy, as well as a reminiscence to Roy Lichtenstein’s famous brush stroke as a parody of the Abstract Expressionist gesture of the ’60s to dance, meditation and movement itself. But these are only a few of the most obvious associations a viewer gets by looking at his work.
James Nares was born in 1953 in London, but has lived and worked in New York since 1974.
His work is very spontanous, yet precise; there is no schedule that he follows. Sometimes he gets his perfect stroke on the first try, but usually he needs more repetitions to achieve the desired result, which might require a hundred or more tries. While it is true that each of his painting takes only a few seconds, they are repeated over hours and days. Immediately after the application of the paint, Nares decides if he is content with the result. If he isn’t, he wipes off the paint with a special squeegee, and tries again. To be able to use the canvases several times, he covers them with a smooth, grey primer.
In most cases, there is only one stroke per canvas or paper, which is usually and distinctly horizontal or vertical, but sometimes he combines similar strokes into groups, creating choreographic rhythms.
Nares’s work possesses a similarity to Asian calligraphy, as well as a reminiscence to Roy Lichtenstein’s famous brush stroke as a parody of the Abstract Expressionist gesture of the ’60s to dance, meditation and movement itself. But these are only a few of the most obvious associations a viewer gets by looking at his work.
James Nares was born in 1953 in London, but has lived and worked in New York since 1974.
As yet - unedited, but ready
Galerie presents the Canadian photographer Edward Burtynsky's second
solo exhibition in Germany with selected works from the Australia series. Burtynsky's
large scale colour photographs document the many facets of nature as they are transformed
by human industry. Industrial processes such as gold- and silvermining are presented
as highly expressive visions where beauty is found in the most unlikely of places.
The images by Burtynsky (born 1955 in St. Catharines, Ontario) are metaphors of
the dilemma of our modern existence. We are drawn by the desire for prosperity and
a good comfortable life, yet we all know that the world suffers to meet those demands.
Our dependence on nature to provide us with the materials for our consumption, in
contrast to our concern for the health of our planet, sets us into the uneasy contradiction
that feeds the dialogue in Burtynsky's images between attraction and repulsion,
seduction and fear. This contradiction is absolutely intended, as the artist insists
that he is not celebrating nor condemning anything; neither industrialization nor
the impact of civilization on the environment. Edward Burtynsky shows exceptional
talent with his constant attention to composition and light, always presenting images
with a painter's eye for colour and a sculptor's feel of form.
Burtynsky's photographs are included in the collections of numerous major museums
around the world, including the Museum of Modern Art and the Guggenheim Museum in
New York, the National Gallery of Canada, the Biblioteque National in Paris, and
the Reina Sofia Museum in Madrid. Edward Burtynsky is established as one of Canada's
most respected contemporary photographers. In June 2006, he was appointed to the
Order of Canada, Canada's highest civilian honour, recognizing lifetime achievement.
solo exhibition in Germany with selected works from the Australia series. Burtynsky's
large scale colour photographs document the many facets of nature as they are transformed
by human industry. Industrial processes such as gold- and silvermining are presented
as highly expressive visions where beauty is found in the most unlikely of places.
The images by Burtynsky (born 1955 in St. Catharines, Ontario) are metaphors of
the dilemma of our modern existence. We are drawn by the desire for prosperity and
a good comfortable life, yet we all know that the world suffers to meet those demands.
Our dependence on nature to provide us with the materials for our consumption, in
contrast to our concern for the health of our planet, sets us into the uneasy contradiction
that feeds the dialogue in Burtynsky's images between attraction and repulsion,
seduction and fear. This contradiction is absolutely intended, as the artist insists
that he is not celebrating nor condemning anything; neither industrialization nor
the impact of civilization on the environment. Edward Burtynsky shows exceptional
talent with his constant attention to composition and light, always presenting images
with a painter's eye for colour and a sculptor's feel of form.
Burtynsky's photographs are included in the collections of numerous major museums
around the world, including the Museum of Modern Art and the Guggenheim Museum in
New York, the National Gallery of Canada, the Biblioteque National in Paris, and
the Reina Sofia Museum in Madrid. Edward Burtynsky is established as one of Canada's
most respected contemporary photographers. In June 2006, he was appointed to the
Order of Canada, Canada's highest civilian honour, recognizing lifetime achievement.
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