20130529

Alex Kanevsky


born from the provinces in Russia 

studied in Lithuania and Philadelphia 

I am a slow learner......
I am also fairly slow when it comes to actual painting. 
我畫的又慢又沒有耐性
Slow but impatient.
That can be a problem, 
但慢慢的我把這種矛盾融入了我的作品。
but over time I figured out how to turn this contradiction into my own way of working.
I can’t do slow and methodical accumulation painting: 
如果要我畫精心準備的一點點積累的東西,我會悶死的。
I get bored with careful, planned sort of activity. 
我的創作依靠於對新鮮的東西的感知,
I also depend on freshness of perception, 
也就是佛所说的“禅者的初心"。
what zen-buddists call “beginner’s mind”. 
但是畫著畫著你就沒有那種新鮮感了,
That is difficult to sustain over a long period. 
After a while you are just not a beginner. 
於是我就一次又一次的重頭畫起,
So I work fast, trying to hit the right note every time. 
That is nearly impossible, so I constantly fail. 
But I keep coming back to a painting. 
一層又一層,
It accumulates layers, 
每一層都是完整的一副作品,
each one - more or lass a complete painting. 
完整但是失败的作品,
Complete but failed. 
The layers are sort of like Swiss cheese - 
they have holes through which in right places you can see the previous layers. 
Eventually there are enough of “good holes” and also, 
because of all the repeated attempts, I manage to do a good top layer.
直到最終我得到一副強烈的在每個部分都讓我滿意的作品,
And then I have a painting that has enough intensity in every passage to satisfy me. 
這樣就成了。
Then it is done.


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20130528

Define us







Christian Dior Fall 2013 collection
inspired by Andy Warhol
edited by Define us 

Berndnaut Smilde


Groningen, 1978
lives and works in Amsterdam

“The cloud brings duality because
you can’t really grasp how to interpret the situation you are viewing. 
This is not so much about the shape of the cloud but rather by
placing it out of its natural context; 
in this case the unnatural situation can be threatening.”


Nimbus Green Room, 2013 Digital C-type Print 75 x 102 / 125 x 170 cm Green Room, San Francisco Photo: RJ Muna

Nimbus NP3, 2012 Digital C-type Print 75 x 111 / 125 x 185 cm NP3, Groningen Photo: Cassander Eeftinck Schattenkerk

Nimbus D'Aspremont, 2012 Digital C-type Print 75x110 / 125x184 cm Kasteel D'Aspremont-Lynden, Rekem, BE photo: Cassander Eeftinck Schattenkerk

Nimbus II, 2012 Digital C-type Print 75x112 cm Hotel MariaKapel, Hoorn photo: Cassander Eeftinck Schattenkerk

Nimbus, 2010 Cloud in room Digital C-type Print , 75x112 cm Probe#6, Suze May Sho, Arnhem




Akiko Ikeuchi


Born in Tokyo, 1964

"Ikeuchi begins each work with a foundation of cotton thread based on detailed diagrams, 
and then, over a months-long process, 
adds a second layer of fine silk thread, knotted by hand hundreds of times over, 
into a mesh of geometric patterns that are as weightless as a spiderweb."

72p-drawing09  69p

73p-09-g21redstat


74p-09-g21red

75p-09-g21red





20130523

Define us



The best hairstyles for me from Fall 2013 collections 
Two of my favourite designers,
Rick Owens and Haider Ackermann


no inspiration these days


20130515

Zhang Xiangxi


A Chinese artist, who studied sculpture at the Guangzhou Academy of Fine Art

1980年出生於湖南瀏陽的張湘溪,
17歲南下廣州打工,22歲遊學北京,一年之後考入廣州美術學院雕塑專業。
返回廣州畫畫創作,畢業後繼續留在當地工作


張湘溪的工作室位於北京市郊的黑橋村社區,
在那裡藝術家可以找到大量如冰箱和洗衣機等各類二手貨。


“I like to closely observe daily life and work out how to make things,” 


“為求逼真,真實居室中所需要用上的材料,我都用上了。僅是體積縮小而已。”

《獨自等待》

“我現在延續了電視機風格的作品,創作了冰箱和洗衣機系列作品。
我要用當代藝術品來呈現這個時代的社會生活的細節,並把細節還原到生活中。
就像張曉剛的作品,呈現那個年代人的表情一樣。 ”

《天井》

我們今天所處的中國社會遭遇到它自身歷史的一個臨界點:
人們滿懷信心地走向世界,試圖掌握世界、改造世界。
以至於今天的社會發生天翻地覆的變革。

但是我們突然意識到,正是如此這番的努力,使自己錯過並日益遠離了真實的世界。
我只是藉此保存真實。

《回家》

"Regardless of the invention of perspective, artists have always been able to reflect and portray the real world accurately with their eyes and souls. Proper perspective is one of the ways we see the world, but as an artist, I’m more concerned about what’s ‘real’ in the art world."


20130510

Dumb ways to die



I downloaded an interesting game in app store today



this is my status of the game
and I already won 16 characters


Dumb Ways to Die 

is a public service announcement campaign by Metro Trains in Melbourne,
 Australia to promote rail safety.

John Mescall, executive creative director of McCann, said 
"The aim of this campaign is to engage an audience that
 really doesn’t want to hear any kind of safety message, 
and we think Dumb Ways To Die will."

According to Metro Trains,
 the campaign contributed to a more than 30% reduction in "near-miss" accidents,
 from 13.29 near-misses per million kilometres in November - January 2011/12,
 to 9.17 near-misses per million kilometres in November - January 2012/13.


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