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Monday, 30 July 2007

"if you can keep your head" and others




the original illustration was done for a tee shirt but I kind of like it so I did it on paper too. the frame is made from plastic floor mat. Its got a broken bit with wires that are burnt like a short curcuit. Its more an illustration than a painting.The title is from a Rudyard Kipling poem - "If you can keep your head when all about are loosing theirs..."
The other one is a work in process or progress - theres a thought, whats the difference? There is no text to go with the object although there maybe with the process/progress aspect of it.
Studio reclaimed... I have shifted the gym equipment to my daughters vacated room (shes coming home this weekend, that should be interesting). The bikes are still in there, hanging on the wall - you can see a handlebar just up and left of the clock.

9 comments:

  1. David, recognise the easel?

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  2. Good to see you reclaiming your artspace Roj. I have a suspicion that your abstract works are definitely about process, can you like document them every five minutes or so in the making? Hard to do maybe without stopping the flow? It would be interesting from an observer's point to see the stages of development happening.

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  3. Good to see you stuff Roger. The top illustration reminds me of the Dog of Bone T-shirt you gave us. It's good to have you on board with all you enthusiasm. Your abstract looks very stellar at the top and aerial, ground at the bottom. By golly it's a landscape. Process can either regress or progress. Process does not necessarily need a product. Product always has a process. Maybe process without a product, is like faith without works. Process only, can be a bit like chasing the wind, but also just an experience - which can be a good thing. Focusing on process instead of the final product can lead to a better outcome.
    Love seeing studio shots, I hope Wendy is cool with all this. Does she want to post some of her photos?
    Thanks for your input Roj.

    P.S. That's a Queensland college of Art easel - Stop thief!
    Sent an email to Pat Hoffie to check this site out - I hope she demands it back.

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  4. Will Arundel said I could have it because it was broke and lying abandoned in the bush - I rescued it from one process and committed it to another.
    Its all about process - even the product is a process. Everything is process - I like paintings that have bits that fall off now and then. Marking time in irregular steps.

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  5. Yes, I suppose you are right Roj. One product leads into another in some form. Even if that means entropy. I suppose it's got to do with planned process and unplanned process. Also, maybe the artist is a conductor balancing the opposing forces of process to a temporary conclusion.
    Or this is all a hair splitting exercise in recursive semantics. Sort of arguments feedbacking into themselves to avoid empirical statements. But it must stop because deconstructionism as a philosophy is deeply flawed by it's inherent contradictions. It sort of shoots itself in the foot. Dialectical methodology is useful as a tool for art practice but anymore than that it leads to fragmentation, and control.
    The dialectic approach used by totalitarian types in peer groups, by dissolving antithesis/thesis relationships to form synthesis is rather scary. Very Big Brother-ish.
    So maybe a rose is a rose after all ,and butterflies don't turn into squirrels, and the rabbit hole runs deep - so the red pill or the blue pill?
    P.S.Feels like college again - where is Craig when you need him.

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  6. I like what Elizabeth has said about documentation of the process, it throws the process into the public arena where-as, un-documented, it remains in the realm of personal experience. In exposing the process you would be opening up the whole shebang to scrutiny and critique. I've seen video of that sort of thing but never thought of it in those terms. There is an English artist who does stuff in the country with sticks and leaves and wool - the process is the product because in the end there is no object, nothing to take home except the video.
    I wonder if it has an impact on the product though; my process is like David says - a conductor balancing (guiding) the ...process...to a...conclusion - The conclusion is important; I am a traditionalist with pretensions to the contempory - Antlion is far more contempory - it's a media thing (I've got a thing to say about that but it will have to wait).
    )

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  7. the bit about the conductor means I slop some stuff on canvas then stand back and have a look - if it looks a bit yuk I fix it up, if it looks ok I leave it. Mostly it looks a bit yuk.

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  8. Have you swallowed an art dictionary, David? Recursive semantics indeedy, sounds like some of the textbooks I've been having to regurgitate in essays lately.
    All I was interested in seeing how stuff changes between start {always my favourite bit) and finish (which is something I'm lousy at.)I always lose bits I'm very fond of before I finish a painting, often to the point of agonising over gains versus losses. I know I try not to be precious, but I have regrets you know, to the point where I look at a painting and still see the colour/shape that was there before and is now lost, years afterward.

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  9. get the process happening and freeze the good bits as they go by

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