Journal

Tuesday
Jun082010

Francis Bacon - Study for the head of George Dyer 1967

Is this not the most beautiful brushwork you have ever seen?  I don't think I have ever been so moved by a piece of art as when I saw this portrait.  I love the choice of colours in the face and how Bacon creates a sense of movement within his portraits giving life to the image. Masterpiece!

Tuesday
Jun082010

http://www.inka-essenhigh.com/Inka Essenhigh - Green Goddess II - 2009

Click through to Inka Essenhigh's official website
Essenhigh's work attracted attention as one of a generation of young painters in New York in the late 1990s. Born In 1969, Pennsylvania, she now lives and works in New York.
I went to one of her exhibitions at the Victorio Miro Gallery in April 2008 and was totally in awe of the combination of skill and imagination in her work.  In my eyes she manages to create worlds and characters which aren't so surreal as to be believable.  However I like to believe in fantasy worlds! Click on the link below to see some more of her work
http://www.victoria-miro.com/artists/_23/

Friday
Apr302010

Cherry Blossom seen through sun glasses - Photo by Alice Boyle

Tuesday
Apr062010

Buffalo 66 - 1998

One of my favourite films.  There is hope for all of us.

 

Buffalo 66

Wednesday
Mar312010

Storm Tharp - Photo by Alice Boyle from the New York Biennual 2010

Storm Tharp builds his strange and beautiful characters by first drawing contours on the page with water. Before the water has a chance to dry, he applies drops of mineral ink, resulting in unruly and expansive bleeds on the paper. This process is repeated in various instances to build forms and light sources. Once the adequate amount of ink has been dropped and dried, the artist manipulates the form in a variety of ways, such as drawing and erasing. Tharp takes his inspiration from a wide-ranging set of influences including 1970s American cinema and Japanese portrait prints. His characters have names, histories, and narratives, but they suggest multiple interpretations. Is the woman clutching a knife in Pigeon (After Sunshen) defending herself or is she a vengeful murderess? Is the girl in Dolores tethered by the medal around her neck or free like the bird perched on her head? In these enigmatic portraits Tharp investigates the performance of identity and the point where the myth of a person supercedes reality and becomes truth.