back alley
IMAGES
this will write your 'artist's statement' for you!
http://www.500letters.org/form_15.php
Joe Rizzuto
Joe Rizzuto (°1950, New York ) is an artist who mainly works with photography. In a search for new methods to ‘read the city’, Rizzuto focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
His photos feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. By experimenting with aleatoric processes, he formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages.
His works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. By creating situations and breaking the passivity of the spectator, he wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important.
His works are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways.
http://www.500letters.org/form_15.php
Joe Rizzuto
Joe Rizzuto (°1950, New York ) is an artist who mainly works with photography. In a search for new methods to ‘read the city’, Rizzuto focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
His photos feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. By experimenting with aleatoric processes, he formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages.
His works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. By creating situations and breaking the passivity of the spectator, he wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important.
His works are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways.
back alley
IMAGES
post yours!
Particular
a.k.a. CNNY, disassembler
I hope your images can live up to the promise.
icebear
Veteran
Seems to work quite well :
Front Street
Front Street (°1951, Toronto, Canada) makes photos and media art. By experimenting with aleatoric processes, Street often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His photos are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, he formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages.
His works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. In a search for new methods to ‘read the city’, he makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing.
His works feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
His works are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image. Front Street currently lives and works in Montreal.
Front Street
Front Street (°1951, Toronto, Canada) makes photos and media art. By experimenting with aleatoric processes, Street often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His photos are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, he formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages.
His works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. In a search for new methods to ‘read the city’, he makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing.
His works feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
His works are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image. Front Street currently lives and works in Montreal.
back alley
IMAGES
i can't even understand it...too deep!
Particular
a.k.a. CNNY, disassembler
This is 100% spot on:
Christian Nicolas
Christian Nicolas (°1971, Reuver, Netherlands) makes photos, media art and films. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, Nicolas wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important.
His photos are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. By manipulating the viewer to create confusion, he often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His works are on the one hand touchingly beautiful, on the other hand painfully attractive. Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts. By creating situations and breaking the passivity of the spectator, he often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: notes are made and then crossed out again, ‘mistakes’ are repeated.
His works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. Christian Nicolas currently lives and works in New York.
Christian Nicolas
Christian Nicolas (°1971, Reuver, Netherlands) makes photos, media art and films. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, Nicolas wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important.
His photos are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. By manipulating the viewer to create confusion, he often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His works are on the one hand touchingly beautiful, on the other hand painfully attractive. Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts. By creating situations and breaking the passivity of the spectator, he often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: notes are made and then crossed out again, ‘mistakes’ are repeated.
His works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. Christian Nicolas currently lives and works in New York.
Particular
a.k.a. CNNY, disassembler
actually, this one is even better...
Christian Nicolas
Christian Nicolas (°1971, Reuver, Netherlands) makes photos and conceptual artworks. By experimenting with aleatoric processes, Nicolas formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages.
His photos feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. In a search for new methods to ‘read the city’, he focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
His works are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. By demonstrating the omnipresent lingering of a ‘corporate world’, his works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. Christian Nicolas currently lives and works in New York.
Christian Nicolas
Christian Nicolas (°1971, Reuver, Netherlands) makes photos and conceptual artworks. By experimenting with aleatoric processes, Nicolas formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages.
His photos feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. In a search for new methods to ‘read the city’, he focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
His works are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. By demonstrating the omnipresent lingering of a ‘corporate world’, his works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. Christian Nicolas currently lives and works in New York.
Gary Sandhu
Well-known
Gary Sandhu
Gary Sandhu (°1969, Surrey, Canada) is an artist who mainly works with photography. By questioning the concept of movement, Sandhu wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important.
His photos are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages.
His collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By contesting the division between the realm of memory and the realm of experience, he often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. By experimenting with aleatoric processes, he tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By choosing mainly formal solutions, he finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
His works feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. By creating situations and breaking the passivity of the spectator, he absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.
His works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned.
Gary Sandhu (°1969, Surrey, Canada) is an artist who mainly works with photography. By questioning the concept of movement, Sandhu wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important.
His photos are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages.
His collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By contesting the division between the realm of memory and the realm of experience, he often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. By experimenting with aleatoric processes, he tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By choosing mainly formal solutions, he finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
His works feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. By creating situations and breaking the passivity of the spectator, he absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.
His works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned.
Gabriel M.A.
My Red Dot Glows For You
Gabriel Aguirre
Gabriel Aguirre (°1971, San Luis Potosi) makes photos and conceptual artworks. With a conceptual approach, Aguirre often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His photos are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. By examining the ambiguity and origination via retakes and variations, he tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
His works directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
His works appear as dreamlike images in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. By applying a poetic and often metaphorical language, he wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation.
His works never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. By emphasising aesthetics, he tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
His works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. Gabriel Aguirre currently lives and works in Paris.
Gabriel Aguirre (°1971, San Luis Potosi) makes photos and conceptual artworks. With a conceptual approach, Aguirre often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His photos are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. By examining the ambiguity and origination via retakes and variations, he tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
His works directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
His works appear as dreamlike images in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. By applying a poetic and often metaphorical language, he wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation.
His works never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. By emphasising aesthetics, he tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
His works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. Gabriel Aguirre currently lives and works in Paris.
Sparrow
Veteran
... now that's uncanny
Stewart McBride
Stewart McBride (°1952, Pennine Hills, United Kingdom) makes photos, paintings and drawings. By questioning the concept of movement, McBride focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
His photos are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realized in photography. By choosing mainly formal solutions, he makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing.
His works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, he finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
His collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By experimenting with aleatoric processes, he makes work that deals with the documentation of events and the question of how they can be presented. The work tries to express this with the help of physics and technology, but not by telling a story or creating a metaphor.
His works are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image. By demonstrating the omnipresent lingering of a ‘corporate world’, his works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
His works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. In a search for new methods to ‘read the city’, he formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages.
His works are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. By contesting the division between the realm of memory and the realm of experience, he tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His works feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. With Plato’s allegory of the cave in mind, he absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.
His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. Stewart McBride currently lives and works in Yorkshire .
Stewart McBride
Stewart McBride (°1952, Pennine Hills, United Kingdom) makes photos, paintings and drawings. By questioning the concept of movement, McBride focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
His photos are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realized in photography. By choosing mainly formal solutions, he makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing.
His works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, he finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
His collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By experimenting with aleatoric processes, he makes work that deals with the documentation of events and the question of how they can be presented. The work tries to express this with the help of physics and technology, but not by telling a story or creating a metaphor.
His works are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image. By demonstrating the omnipresent lingering of a ‘corporate world’, his works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
His works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. In a search for new methods to ‘read the city’, he formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages.
His works are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. By contesting the division between the realm of memory and the realm of experience, he tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His works feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. With Plato’s allegory of the cave in mind, he absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.
His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. Stewart McBride currently lives and works in Yorkshire .
MickH
Well-known
God! Mine was so boring even I couldn't get to the end, never mind bother to copy/paste it here.
Chris101
summicronia
I hear ya. That stuff shuts my cognition right down. Nonetheless mine was spot on. I'm gonna use it professionally:
Christophe Heilmann (kreese-Toff-feh Heel-maahn) hails from Toledo, Spain. Or maybe Ohio. Who can really tell?
Photographs, paintings, and other media combine in Christophe Heilmann's conceptual installation artworks. By pitting the divisions between the dichotomous realms of memory and of experience against one another, Heilmann uses a visual vocabulary that addresses and then personalizes many different social and political issues laid bare there-within.
These compact and accessible works incorporate time and space into an experiential and fictional universe that only emerge in the long view, all the while telling familiar stories. Heilmann's work often present blatent political references. The aggrandizement of an assumed identity of a 'meme/dream' is a constant focal point.
By assuming the viewpoint of a clumsy and obviously misdirected metafor, he absorbs the tradition of remembrance art into the referential pieces. Rather than being merely kitsch, Heimann's personal meditations follow and revive a past tradition that is as important as is their inherent currency. This collection is aesthetically resilient and thematically interrelated with material from his personal memory and more general projection into the general viewing population. Here impossible is true and the truth exists, but ... you will need to adjust your viewpoint and expectations. This is not what you think! By merging several seemingly incompatible worlds into a new universe, he creates works in which the actual event still have taken place or will: moments evocative of atmosphere and suspense that are not part of a narrative thread are the undercurrent here. The drama unfolds within and between the participants but it is explained over the course of the entirety of the work, which lies just this side of completion. The chiral sides of the interface between reality and that of Heilmann's inner vision are clearly laid out in a manner that is a pleasure to look at.
The work is presented in several alternative formats. Computerized representations share the space with flat art, and various physical devices. Sensory capabilities of various alternative perceptions, such as color-blindness and monocular vision are addressed through out. Christophe Heilmann currently lives and works on Venus, Arizona.
Photographs, paintings, and other media combine in Christophe Heilmann's conceptual installation artworks. By pitting the divisions between the dichotomous realms of memory and of experience against one another, Heilmann uses a visual vocabulary that addresses and then personalizes many different social and political issues laid bare there-within.
These compact and accessible works incorporate time and space into an experiential and fictional universe that only emerge in the long view, all the while telling familiar stories. Heilmann's work often present blatent political references. The aggrandizement of an assumed identity of a 'meme/dream' is a constant focal point.
By assuming the viewpoint of a clumsy and obviously misdirected metafor, he absorbs the tradition of remembrance art into the referential pieces. Rather than being merely kitsch, Heimann's personal meditations follow and revive a past tradition that is as important as is their inherent currency. This collection is aesthetically resilient and thematically interrelated with material from his personal memory and more general projection into the general viewing population. Here impossible is true and the truth exists, but ... you will need to adjust your viewpoint and expectations. This is not what you think! By merging several seemingly incompatible worlds into a new universe, he creates works in which the actual event still have taken place or will: moments evocative of atmosphere and suspense that are not part of a narrative thread are the undercurrent here. The drama unfolds within and between the participants but it is explained over the course of the entirety of the work, which lies just this side of completion. The chiral sides of the interface between reality and that of Heilmann's inner vision are clearly laid out in a manner that is a pleasure to look at.
The work is presented in several alternative formats. Computerized representations share the space with flat art, and various physical devices. Sensory capabilities of various alternative perceptions, such as color-blindness and monocular vision are addressed through out. Christophe Heilmann currently lives and works on Venus, Arizona.
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DougK
This space left blank
Fun link, Joe. Here's mine:
I thought I just took pretty pictures of flowers and stuff. Who knew I was so deep?
I thought I just took pretty pictures of flowers and stuff. Who knew I was so deep?
Tom Diaz
Well-known
Thanks, back alley. This is hilarious. Shows you what can be twisted out of some really sparse data:
Tom Diaz
Tom Diaz (°1951, Indianapolis, United States) is an artist who mainly works with photography. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, Diaz often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His photos isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By questioning the concept of movement, he finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
His works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. By creating situations and breaking the passivity of the spectator, he wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important.
His works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. Tom Diaz currently lives and works in Boston.
Tom Diaz
Tom Diaz (°1951, Indianapolis, United States) is an artist who mainly works with photography. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, Diaz often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His photos isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By questioning the concept of movement, he finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
His works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. By creating situations and breaking the passivity of the spectator, he wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important.
His works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. Tom Diaz currently lives and works in Boston.
back alley
IMAGES
i love it!!
erikhaugsby
killer of threads
It's like a horoscope - so abstract that it can be filled with meaning and seem deeper than the vacuities it obfuscates.
Sejanus.Aelianus
Veteran
Sejanus Aelianus (°1946, Atlantis By The Sea, Greece) is an artist who works in a variety of media. By putting the viewer on the wrong track, Aelianus tries to create works in which the actual event still has to take place or just has ended: moments evocative of atmosphere and suspense that are not part of a narrative thread. The drama unfolds elsewhere while the build-up of tension is frozen to become the memory of an event that will never take place.
His artworks are given improper functions: significations are inversed and form and content merge. Shapes are dissociated from their original meaning, by which the system in which they normally function is exposed. Initially unambiguous meanings are shattered and disseminate endlessly. Sejanus Aelianus currently lives and works in Erehwon.
Wow! Now where did I leave those virtual rose bushes?
His artworks are given improper functions: significations are inversed and form and content merge. Shapes are dissociated from their original meaning, by which the system in which they normally function is exposed. Initially unambiguous meanings are shattered and disseminate endlessly. Sejanus Aelianus currently lives and works in Erehwon.
Wow! Now where did I leave those virtual rose bushes?
ironhorse
Joe DuPont
I"m so glad that someone recognizes the "cold and latent violence" in my work!
Joe DuPont (°1956, New York, United States) is an artist who mainly works with photography. By choosing mainly formal solutions, DuPont finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
His photos are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By questioning the concept of movement, he seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
His works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By emphasising aesthetics, he tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. Joe DuPont currently lives and works in Brooklyn.
Joe DuPont (°1956, New York, United States) is an artist who mainly works with photography. By choosing mainly formal solutions, DuPont finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
His photos are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By questioning the concept of movement, he seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
His works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By emphasising aesthetics, he tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. Joe DuPont currently lives and works in Brooklyn.
back alley
IMAGES
i like this one better...
Joe Rizzuto
Joe Rizzuto (°1950, Brooklyn, New York, Canada) is an artist who mainly works with photography. With a subtle minimalistic approach, Rizzuto often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of photography: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. By referencing romanticism, grand-guignolesque black humour and symbolism, he creates work through labour-intensive processes which can be seen explicitly as a personal exorcism ritual. They are inspired by a nineteenth-century tradition of works, in which an ideal of ‘Fulfilled Absence’ was seen as the pinnacle.
His works are often classified as part of the new romantic movement because of the desire for the local in the unfolding globalized world. However, this reference is not intentional, as this kind of art is part of the collective memory. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used.
His works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. Joe Rizzuto currently lives and works in Edmonton.
Joe Rizzuto
Joe Rizzuto (°1950, Brooklyn, New York, Canada) is an artist who mainly works with photography. With a subtle minimalistic approach, Rizzuto often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of photography: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. By referencing romanticism, grand-guignolesque black humour and symbolism, he creates work through labour-intensive processes which can be seen explicitly as a personal exorcism ritual. They are inspired by a nineteenth-century tradition of works, in which an ideal of ‘Fulfilled Absence’ was seen as the pinnacle.
His works are often classified as part of the new romantic movement because of the desire for the local in the unfolding globalized world. However, this reference is not intentional, as this kind of art is part of the collective memory. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used.
His works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. Joe Rizzuto currently lives and works in Edmonton.
dasuess
Nikon Freak
After comparing the ones posted here to others I have seen on various photographer websites, I now know where those photographers get their Artist Statements.
Here's mine...
David Suess (°1951, Mankato, United States) is an artist who mainly works with photography. By exploring the concept of landscape in a nostalgic way, Suess creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used.
His practice provides a useful set of allegorical tools for maneuvering with a pseudo-minimalist approach in the world of photography: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. With a subtle minimalistic approach, he focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
His works establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination.
His works are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. In a search for new methods to ‘read the city’, he often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His works are characterized by the use of everyday objects in an atmosphere of middle class mentality in which recognition plays an important role. David Suess currently lives and works in St. Paul.
Here's mine...
David Suess (°1951, Mankato, United States) is an artist who mainly works with photography. By exploring the concept of landscape in a nostalgic way, Suess creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used.
His practice provides a useful set of allegorical tools for maneuvering with a pseudo-minimalist approach in the world of photography: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. With a subtle minimalistic approach, he focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
His works establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination.
His works are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. In a search for new methods to ‘read the city’, he often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His works are characterized by the use of everyday objects in an atmosphere of middle class mentality in which recognition plays an important role. David Suess currently lives and works in St. Paul.