'Can we make things that are really amazing that can complete with the higher street?' -Bucks
J A M E S T H E S E U S B U C K
L U K E B R O O K S
Rottingdean Bazaar / notey.com
Luke Brook & Beth Postle / biennale.com
James Theseus Buck FW15/ fuckingyoung.com
Made in heaven /reaction, tumblr.com
note on Jeff Koons
One could say that the JEff Koons exhibition in London is very impressive. It truely doesn' t matter if you have any knowedge of his artwork or life when you enter the gallery. You will feel like you are the part of exhibition and that the exhibition is part of yoursef as well. Most likely because of the large scale sculptures, mirroring in steel, and everyday's objects redesigned into art pieces.
What I like about his style is that it almost seems to look naive. And he is number one 'must have' artist for every art collector in the world. Changing general meaning of random items, readymade... everything has got idea behind it that reflects our daily lives. He consider himself a bussiness man. He only provides ideas to the artists that he uses as a medium in his studio. HE is the Brand. Great marketing is probably more than 70 percent of his success. I would put him in to the same group as D Hierst.
I really enjoyed stalking people in the room with his Made In Heaven series of erotic images of himself and his ex wife - Ciccolina.
People were almost ashamed to look at it, even though it is very natural for every human being. It is caused most likely by the huge scale, details, and the fact that society doesnt want to see such as inappropriate things in a gallery. It suppose to be a private story of our bedrooms right? Revealing maybe ''too much'' made people run away from the exposition and left them only with their thoughts of what is the connection between art and pornography(?)...
I would like to create some kind of similar emotion to people that see my artwork. To make them think, feel a bit weird of what they have just obscured.
V I R G I N I A O V E R T O N
WHITE CUBE BERMONDSEY/ primary research
Virginia Overton's work comprises installation, sculpture and photography, often beginning intuitively as a direct response to her physical presence in a particular space. Through a process of trial and error, she creates sculpture that is performative, sometimes obstructing, bisecting, dividing or joining the architecture of a space with works that are dramatic and minimal in feel.
Napkin story 1/2 / primary research
miami beach/ primary research
note on Miami Beach
This picture of inflated drink holder with a bath duck inside was taken this summer while my vacation in Croatia.
It demonstrates my long term interest in exploring possibilities of random objects and my desire of finding another meaning in them.
P R O C E S S - D I F F U S I O N
Diffusion is the movement of a substance from a region of higher concentrationto a region of lower concentration.
Diffusion is the movement of gas or solute molecules from a region of higher concentration to a region of lower concentration until they are equal.
A L B E R T O S E V E S O / thisiscollosal.com
charles jencks. /life mounds ref: wowaminz.com
really admire the layering ... remind my of rice fields
documenting / @csm
chewing gum after / private reference
make up removal pads
- collection of make up removal pads of my friends after last weekends party
- looking like flowers which are beautiful even thought it is made of something taht is considering as a trash or even gross
P R I N T I D E A S
klein and feminism
Signs: Journal of Women in Culture and Society, in a special 2006 issue, “New Feminist Theories of Visual Culture.” In “Behind Enemy Lines: Toxic Titties Infiltrate,” the collection of writers/feminist art collective known “Toxic Titties” compares a Vanessa Beecroft performance at the Gagosian Gallery with Klein’s Anthropométries, and they are quick to judge Klein’s artistic process. The collective’s Julia Steinmetz views Klein’s usage of nude females as “live brushes” as the artist distancing himself from his subject matter and thus his artistic process. As Klein attempts to create art in this detached state, directing his models to smear themselves with paint and roll on the floor or press against a wall, inevitably the artist-to-model relationship develops into a power dynamic.
Criticizing Klein for this “authoritative power struggle,” the article questions whether Klein considered the notion that those with power or authority often have the ability to remove or distance themselves from a dirty, uncomfortable environment. By “conducting” the motions of beautiful nude models, Klein has ultimate control over his female subjects, thus limiting the female body not only as an object for the male gaze, but also as a tool for representing, expressing, and enforcing patriarchal values.
Luke Brooks / Ref: livingly.com
- collecting everyday' s objects in order to find beauty in them
- what is beautiful? where are the boundries between ''beautiful, gross, and kitch'' ?
- simple idea is more powerful than something way too complicated
- changing general meaning of the observated objects
- can trash become an art piece ?
J E F F K O O N S
NEW PORT STREET GALLERY/ primary research
- design to fool the eyes -illusion
- playful , interactive
- MADE in HEAVEN/ symbols of love and fidelity,
removing stigma of shame and guilt from sexuality
-'' preservation of life,the continuation of life'' - KOONS
"I enjoy readymades," Koons goes on. "It's a way that I can communicate a form of acceptance, that everything is perfect. It's about accepting ourselves and accepting others."
His work attempts to treat the body not as an object but a place and in making works that enclose the space of a particular body to identify a condition common to all human beings. The work is not symbolic but indexical – a trace of a real event of a real body in time.
TIMOTHY BOUYEZFORGE/ instagram/onofflondon
napkin story 2/2 / primary research
Donna Keiko Ozawa/DISCOVERNEWS.COM
Spinach in smoothie/ PROCESS: diffusion
douglas coupland-mocca / ref: canadianart.ca
Douglas coupland ref: Pinterest
Bye Bye Chewie
I have decided to bring in old school chewing gums from my childhood. I have been looking for the process of transformation of nice looking , tasteful chewie until it comes to the contact with human mouth and it becomes ' disgusting' - wet, tasteless, most likely smashed on a pavement.
Why people react on used chewies like that ?
I have made an experiment with my claasmates and I ask them to chew a chewing gum for me for as much as they wanted and then to place it in to my sketchbook as they wanted. I ask them to name their ''art piece'' so they could feel like it is their ownership a bit .
Except lovely textures I have obtain by this experiment , I have also explored that my friends were super excited to chew the chewing gums but when I asked them to place it on a page, they felt disgust even though it was only theirs chewing gum coming from their own mouth.