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RUSTED FLOWER
EXHIBITION :" Photos from a small room"
Mai 2010
Where are you from?
I was born in Canada but from the age of 12, I have lived and/or worked overseas in India, Nigeria, the U.S., Egypt, Peru, West Bank and Gaza and Germany. I’ve been back in Toronto now for several years but the love of the sounds of the verbal play of languages (Arabic, Spanish and German) and the range of cultures and people are such a part of me that I feel more global. The experiences that are really deep in me are those of the Middle East and Germany.
What kind of study have you done and why were you in Peru?
I did a degree in Fine Arts at the University of Toronto and began work on a Masters at McGill in Montreal, intending to do a PhD but the work with secondary sources at that time was too dry so I left and concentrated on poetry.
In Cairo, I collaborated on an inter-media project of poetry and the painting of the Egyptian artist, Gamal Lamie, after a boat picnic on the Nile. This began my love of working with others and mixing media.
When I arrived in Cusco, i found that my poetry was dealing with topics that I was not ready to face and so I turned elsewhere. I studied clothes design in Cusco and started a small business. I studied the restoration of colonial paintings including a program on photography in a course set up by UNESCO and the Instituto Nacional De Cultura, Cusco and the Andreas Bello Institute with professors of art history and restoration from other South American countries, Belgium and Spain. Both of these led to a fascination with textures and close-up work with materials, the degeneration of paint on canvas and the deterioration of stone and decoration in the late 16th and 17th century, Jesuit churches of the altiplano. It was through this that I saw how the indigenous spirit (or the subconscious) will survive the imposition of a foreign technique. The soul will out.
In Aachen, Germany I did a Praktikum with an artist/professor at the School for Design and during this time met another significant artist in the Dusseldorf-Cologne-Aachen triangle who introduced me to the really exciting work of the artists in that area and furthered my own work in non-traditional materials and went deeper into the abstract world.
Do you exhibit in real? Do you print your shots?
What is “real”? After starting with the G9 two years ago, I participated in the Contact Photography Festival in Toronto and my experience with the print process for digital images was very disappointing. I printed on the latest metallic paper and had them done professionally but the depth of light was not there and the luminescent quality that one gets with the digital screen just doesn’t survive. There is such a loss of “life” that at the moment I do not want to go that route.
Ideally I’d love a gallery that supports on-line screens and the opportunity to include work from other parts of the globe similar to Festival of Brown, see below.
Why are you in Flickr?
I heard of it from a friend and joined in order to write poetry bits to his images. The art that I saw in the different pools made me want to start with this new material. As I said with the show in stART CAFE, I wanted something new, so when I heard of the macro possibilities of the G9, I started posting and joining galleries. Laptop Peripherals of Hikikomori, admin Azurebumble, Cream of Fugu, Rhizome, Optime Gallery, these were places when I first started, where my eyes popped in admiration and thoughts that to be part of them were a dream.
The international interaction with other artists is what really thrills me. Ideas exchanged and comments, support, new ideas. One no longer needs to live in New York or Paris, but log on. The Festival of Brown, curated by Sabine Portela and Pete Pick last September, was just a wonderful way of putting together an international exhibition.
What do I expect from Flickr?
With the cross-media collaboration I have done with Nouredine with my poetry and his images, called The Blue Man, the image/poetry project last year called Spaces, the image project, “The Remains of Meaning” that I am currently posting in association with Frei-th, all of these are things that I hope to do more of.
It is such on-line magazines such as YSinEmbargo edited by Fernando Prat, where artists discuss a concept and then submit work, which brings a community of thought and creativity together of a level that is a great challenge and extremely exciting.
Galleries such as stART CAFE bring new ideas and artist, jellybeans and chocolate for the artist.
Such are possibilities of Flickr. With, I am sure, many evolutions to come.
Originally posted at 1:28AM, 14 May 2010 PDT
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doris stricher edited this topic 25 months ago.
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MARIA LUISA CORAPI
interviewed by curator OSVALDO PIERONI
Where are you from?
I am Italian, South Italy, Calabria.
I'm living in Calabria right now, but I lived for a long time in Rome ..
What type of studies have you done?
I have an architecture degree and I have studied art previously.
I have drawn, painted, modelled, designed iron objects.
Then I started taking pictures, excluding everything else.
Professionally I am interested particularly on architectural restoration.
I teach in an Academy of Fine Arts, where I feel both a teacher and a student.
Want to expose the real?
I did it in collective exhibitions twice, those were very interesting experiences, but also very limited.
However if I ever get the chance again I'll be glad to repeat it.
Want to print your shots?
Of course I want to print them, especially some of them.
But printing is such a different problem from producing on the web, and that's true especially about chromatic effects and brightness.
Printing does not depend on the photographer's ability and creativity and involves a specific study that sometimes diverts energies, but for sure can also provide great satisfaction.
Certainly the performance on screen is the best, most immediate, direct and spread.
The problem is the general acceptance, many people think that if it's not printed is not a real photography.
I don't think so.
Why are you on Flickr?
Initially it started by chance four years ago, because of my daughter;
then out of curiosity;
then day after day a real interest in the world's production of pictures in Flickr born.
I watch every day, countless numbers of pictures and I feel my critical faculties growing.
Photography I observe are cause of concern and encouragement, inspiration and information and basis for my research of new expressive tools.
My photographic production has changed since I have this steady and constructive frequentation.
Only a medium as Flickr offers me this opportunity.
What do you expect from Flickr?
What I've said until now would be enough to keep my interest alive, but I know Flickr has much more to offer.
Last year I organized a collective exhibition for the Oncology department of my city, involving popular photographers on Flickr, that have proved enthusiastic about the initiative.
They gave me a picture and I provided to print it and exhibit it in the Oncology department. The exhibition in the department, however, was preceded by a public one for the city. It 'was a exciting experience, and I hope to repeat it.
The exhibition is called "lo sguardo altre / a look beyond"
I posted on an online magazine called Doze at the request of my contact, Mario Izquierdo
I exhibited in start Cafe. Thanks to Osvaldo Zoom (Osvaldo Pieroni).;
Also, my contact siresim inspired by some of my works writes beautiful lines, drawing inspiration from 'by Italo Calvino, I hope that this experiment between photography and writing gets to a further concretization.
Getty Images asked for some of my images.
All of those initiatives may have a future.
I am convinced that through the images it's possible to communicate, beyond the specific cultures, much more than by other ways.
The spiritual affinity between people online who do not know each other in fact, starts on shared taste and issues, which doubtless require deeper affinity. Without Flickr the opportunity for a meeting and a discussion would never have occurred.
I expect from Flickr a continuous reinforcement of these opportunities and a broadening and deepening of the initiatives already underway.
I'm sure it's gonna be so.
Originally posted 24 months ago.
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doris stricher edited this topic 24 months ago.
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JULIAN CLORAN: ARTISTIC STATEMENT
Exhibition JUNE 2010 : "INTRICACY"
...JULIAN, tell us a little more about you! We would be pleased to know more :0)
Thank you
I was born and still live in Brighton, on the south coast of England. I was educated at home from the age of eleven by my anti-authoritarian parents. My late father instilled a love of reading and words in me that see me today with a collection of over 1, 200 paperbacks (and this has been pared down to create space)! I currently work part-time for the Quakers as the assistant warden at Brighton’s Friends’ Meeting House. This position enables me to dedicate the rest of my time to following my creative pursuits, which include drawing, painting and writing—both fiction (I am in the process of producing my third novel) and poetry, some of which I occasionally perform at various local venues. Prior to this job, I have been a self-employed painter and decorator, a copy-editor, a barman, a door-to-door salesman and other things I have forgotten. I live in Woodingdean, on the outskirts of the city, which lies close to the Downs. I enjoy the close proximity to the country and walking occupies lots of my leisure time. I’m the sort of person who relaxes working, particularly in a creative way. I like to regularly update my blog: www.narolc.blogspot.com and make my own style of magazines working on paper, using collage and text from newspapers combined with my own illustrations, poems and surreal vignettes. I reproduce small limited editions of these magazines and sell them at my performances. They are close to my heart because they allow me to indulge one of my hobbies: parodying journalese and the tabloid press and they include the same attention to detail that is common to my drawings.
As a boy, I retreated from the frequent rows between my unhappy parents by withdrawing into the world of drawing. This introspective pursuit provided me with peace at the time and was the start of my lifelong, personal relationship with art. I am self-taught.
Sometimes my relationship with the craft of drawing has been love/hate, but I have always returned to it and recognised that (as with most things in life) practice is essential to develop skill irrespective of one's initial talent. There are of course genii who are the exception to this rule though I am not one of them. Drawing has satisfied me above any other medium and while I have experimented widely with various styles and techniques (attempting a looser approach and producing purely representational pieces) I invariably return to intricate and detailed, small-scale drawings. The sizes of my drawings range from between 8½ inches wide by 11½ high (A4) or half as small again (A5 in English paper sizes).
I began painting, using acrylics, in my late teens. I have been quite prolific, experimenting with a range of styles, but now, generally, I favour abstract expressionism. I was invited to join the National Acrylic Painters’ Association (NAPA) in the 1990s, with whom I have exhibited my work. As a solo artist and with various groups I have held regular exhibitions both locally and nationally since 1987.
When I’m not painting, I make small-scale (hand-held) three-dimensional art using recycled materials. I have produced several hundreds to date. Many are, what I see as, blueprints for larger-scale works. I would love to be commissioned to create an outdoors installation based on one of my 3-D pieces.
Little of my work is preconceived; I just start and assume I will know how and when to finish. I believe that the human brain is a vastly under-utilised and little understood organ, and that my unconscious mind operates with a level of skill that I would struggle to match consciously when I am drawing. If a common theme links my work it is the self-healing, self-analysis involved in the physical process. A process that provides me with an inner contentment I have yet to experience to the same degree doing anything else. It is easy to ascribe symbolic significance to details when, often, there is none, and run the risk of detracting from the images quality by creating pretentious descriptions. I prefer to avoid making elaborate comments about my work unless some information is necessary, allowing the viewer to derive meaning and satisfaction for themselves. Mostly, I want people to enjoy what I do.
Originally posted 23 months ago.
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doris stricher edited this topic 23 months ago.
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