At the age of twelve this fool made her first photo and from that moment on I found my folly. In short I don’t make images that are just pleasing to the eye. Yet I strive to scratch below the surface and leave an imprint that extends beyond the realm of cursory but provides an elegant reverse angle on a world consumed by fear and hatred of all that is unknown.
I feel this project, aesthetically as well as regarding the content, engenders discussion and encourages mutual cultural respect, acceptance of diversity as well as an examination of the role of women in our post
Finalist L’iris d’Or in Cannes
Nominee: Photography Masters Cup
My work is a reflection on identity, a catharsis in paint; recent work was concerned with childhood, the aim was to present works which reflect the questioning and exploration of childhood: childhood as a memory, as a discourse and as it relates to the shaping of identity and the natural creative instinct of the young mind.
My research into childhood as a construct led me to the Museum of Childhood. The museum implies that childhood should be a time of play, filled with toys and love. Such a notion can set us up for disappointment. It became apparent that the toys had a hidden agenda; they operated as double agents. The toys enable children to enact the roles prescribed to them, according to class, race or gender, by society; they reinforce the order of things by becoming signifiers, as does the golly, the Barbie or the Action Man.
The toy’s mission was to normalise, to present a world view and condition the next generation so that it in turn might pass that conditioning on. Initially then, the toys reinforce the belief systems of their time. The paintings of the toys deliberately embody a satirical kind of pessimism and a sinister uneasiness, so as to expose their darker side and shatter the innocent venire of the toy. There is a latent feeling within the paintings that a psycho melodrama may be about to unfold, as the toys seem to reflect the pathetic whims, and hidden agenda of the society which created them. Others seem to reflect the sad realization that perhaps one has been duped.
Other paintings in the series were concerned with a nostalgic romantic cynicism about play and my own memories of post industrial waste lands as play grounds. I used local children and the Lee Valley marshes in Tottenham to recreate memories, in photos, of children playing in lonely abandoned places, as I once had. Such places, which seemed so magical at the time would make young children quite vulnerable. The photos then became the starting point for a series of paintings tinged with an air of Pre Raphaelite hope.
Exhibited in SFMA Travelling Scholarship Show
The annual exhibition of work by recipients of the prestigious Traveling Scholarship Awards—three Museum School alumni and three Fifth Year students—is always an intriguing selection of challenging, original work by emerging contemporary artists. Modes of communication, intersection of opposing forces, ecological concerns, pop culture, and the human body are among the themes in this year’s work. The medium of choice ranges from painting (Laurel Sparks and Leslie Hall) and photography (Bill Durgin), to gigantic drawings (Elizabeth Wallace), installations (Mathew Freeman and Will Pappenheimer), and performance (Leslie Hall).
Simon Wright was born in 1972. He studied Fine Art at the University of Newcastle-Upon-Tyne (1991-1995) and has taught in Norfolk since 1999. Recent exhibitions include the Artsway Open and ‘The Painting Room’ (Transition, London).
My recent paintings depict painted models or objects. These makeshift constructions bear the marks of conflicting urges; they are half-built and half-trashed, part painted and part spattered and scratched.
Lodged within a shallow pictorial space, the forms are either pinned to a back wall or flattened to a base, barely projecting out from the plane.
-Hou Chien Cheng
Each object has its own function, and most of the time it shows only one function at a time.
But the truth is that every object has many different function as we place them in a different environment.
In the aspect of the artist’s works, Hou Chien Cheng draws each single object separately and also on separate papers, thus he creates a
new collage from them. By doing the new-collage, he provides or reveals other functions of the object or gives them new functions, this is to say that everything can exists together and relates to each other but they also could exist by themselves and relate to no one. It also transforms without changing its substance. Only its function/relation to others changes.
Born in Kilkenny in 1978, Seamus Nolan is an artist living and working in Dublin. He graduated from the National College of Art and Design with a first class honours degree in sculpture in 2004. Nolan was a recipient of an artists’ bursary from the Arts Council ’06 and ’07. He has been awarded a studio placement by Independent Artists’ Studios in Temple Bar, a residency at the Irish Museum of Modern Art and was recipient of Wexford County Council’s inaugural Emerging Visual Artist Award 2006.
Recent work includes ‘Art in the life world‘ exhibition, as part of the Art in the life world conference, Ballymun Co. Dublin, Feb ’08, ‘Demesne’ at the Lab Foley Street Dublin Feb ’08, Group show ‘Phoenix Park’ in The Kerlin Gallery Feb ’08, ‘Demesne‘ in the Wexford Art Centre Oct ’07, ‘Nature Reserve‘ for Europalia Brussels Oct – Dec ’07, ‘Platform 2‘ Bailieborough Co Cavan Nov ’07, ‘Synnesthesia sat‘, Birr Co, Offaly Sept ’07, ‘Pilot Archives‘ Venice / London 2007, ‘Hotel Ballymun‘ temporary public art work commissioned by Breaking Ground, Ballymun, Dublin, March ’07. EV+a Limerick, 2006, ‘Artcirq / Seamus Nolan’ in the Project, Dublin Nov 2005, and ‘Communism’, in the Project Dublin, Jan 2005.
I am interested in iconic objects that society perceives to fit one role, and then reintroducing them in different subtexts. There are several questions that arise when an object (such as a crayon) that is so often associated with childhood is used to address issues dealing with more adult matters. The sculptures are childlike in their curious approach to the object as icon, but intriguing and satisfying to me in the use of pure color as form. Larger room installations also add the element of playing to the olfactory sense. My intent is to continue to seriously create art that looks at itself unseriously.
Some of my influences are H.C. Westermann, Jasper Johns, Jim Dine, Cai Guo-Qiang, Sandy Skoglund, Robert Smithson, Liza Lu, David Mach, Charles Ray, Magritte, Anish Kapoor, Duchamp, Jeff Koons, Damien Hirst, Robert Rauschenburg, Banksy, and Ai Weiwei.
I get crayons individually packed 3000 to a case. I cut down the sticks to the length I need by hand with either double guillotine cigar cutters or large breed dog nail clippers. I then bond the paper, not the wax, to a form I have carved or cast, completely enveloping the form. Lately I have been casting the completed crayon sculptures in a silicone jacket mold with a two-part epoxy resin and then painting the resin sculpture to look like the original, for a small edition. I consider myself an emerging artist as I still have to have a day job to support my art.
Volkan Diyaroglu was born in Istanbul, Turkey, in 1982. Before the studies in Mimar Sinan University Fine Arts Faculty in Istanbul, he worked in the studios of the Turkish artists like Burhan Yildirim, Yuksel Diyaroglu. In Turkey (2002-2003) he began to wash his paintings and to paint with the cars.
Than he had the Promoe scholarship and he began to study in Facultad de Bellas Artes de San Carlos de Valencia. He was the first fine arts student that he had the Promoe scholarship from Turkey. In 2003 when he was 20, with Galeri Binyil he participated to VIII Istanbul Biennal with the alternative project of the biennal. In 2004, he had the show in Sala Naranja, in 3 rooms of the gallery first time in their history. La sala Naranja, in these days is one of the most important alternative gallery of Spain. Than, with Sala Naranja he participated so many important projects. In 2005, when he had 23 years old, he was exhibited in the VI Observatori festival in the Principe Felipe Museum in Ciudad de las Artes y Ciencias of Valencia, with the artists like, Gary Hill, Gordon Matta-Clark, Paul McCarthy, Dennis Oppenheim etc. In 2006 he was invited to Paris, France for to prepare an exhibition, in Abbaye de Maubuisson and he realised “Decalages” exhibition in 2007 with the Tram Project of the most important museums of Paris/Ile de France in Abbaye de Maubuisson. At the same time he had his biggest exhibition that he realised in Espacio Forja in Valencia with the organisation of the La Sala Naranja. Than he had the Cite International des Arts Scholarship in Paris, France. Finally in 2008, when he has actually 26 years, Volkan has 10 individual exhibitions, he had shows in 4 museums, he had 5 scholarships, he had shows in 5 different countries. In 2008, he has won one of the most important prize of tha Spain, XXXV Bancaja Painting, Sculpture and Dijital Art Prize…
And he will be exhibited in IVAM Museum because of the Bancaja Prize in Spain. His paintings are in many private, gallery, foundation and corporate collections. And he has just began to write for the “Artiz” art magazine from Turkey.
With his paintings, he realise collage and paper works. His works are publicated in so many magazines in Spain, France and Turkey.
Actually he prepares so many projects in different countries.
(please check out amazing website)
Heidi Taillefer lives and works in Montreal, Quebec. Born in 1970, she began drawing at the age of three, having been brought up in a family rich in creative talent. Alhough having no formal academic training in art, she took watercolor lessons as a child and later became self taught in oils and acrylics, where she developed a style known for its mechanical overtones and symbolic fusion of elements. By her late teens she began to develop a cynical view of humanity and it’s impact on the world, adopting vegetarianism and voicing criticism over mistreatment and injury toward other animals and the environment. As a result, her work began to take on the markings of an obsession with technological development throughout society. Originally depicting subjects as machines placed in natural settings, her work acted as a nostalgic embrace of the past, as seen through the lens of a culture racing forward at high speed, fitted with massive technological advancement. Her paintings attempted to denounce and celebrate technology and the changes it could promise or threaten, as a projection of what we are becoming, with both the appeal of the familiar and the jolt of where we are headed.
Increasingly Taillefer painstakingly paints subjects comprised of precisely, seemingly incongruous objects, which are characterized as symbolic, forming a complex composite of various elements and adding a contemporary spin to often classical icons.
She is influenced by a number of sources, from the natural world to quirky thrift shop objects, or oddities in general and all manner of artistic genres, surrealism to the abstract. Her tastes range from the ridiculous and the absurd to the sacred and sublime, as she pursues the deeper meaning of things while possessed of a strong sense of humor. She paints mostly about philosophical observations on life which are drawn out of personal experience, and there is an increasingly autobiographical quality to what she does, though her interests have usually addressed ideological concerns about the environment and the impact of technology on society. Through her work she tries to understand her place in life and that of others around her in an effort to find a truth and a meaning to it all, and hopefully strive towards a greater good. She is inspired by the intensity of life’s challenges, and the opportunities for growth and transcendence that they offer.
the images (of A PLACE TO WASH THE HEART project) from the latest shootings in asia (laos, vietnam, cambodia) can be finally seen in my website. most of them were done in remote & hard to access places, dmz zone in
a couple of images of this project attached here.
something much lighter that i do purely for the joy of it (& to get a break of all this seriousness without losing good taste) can be found in a new section of my website entitled (UN)IMPORTANT BY M.B.: its mostly portraits of some beautiful/interesting people i happened to encounter in these last years (musician georges moustaki, film director jacques doillon, photographers adeline besse, lina scheynius & many more), & images some places i happen to go to as part of the parisian trendy-arty-night-life (parties, exhibition openings, etc..).
if by coincidence you make part of le petit monde de cinema/art/fashion, surely you will find faces & places that are very familiar..so it shouldnt be too boring neither.