tag:blogger.com,1999:blog-11593964370787257492023-11-16T15:07:45.179+01:00Art for Arts SakeArt needs no justification only explores the enduring allure of the cult of beautyMirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.comBlogger83125truetag:blogger.com,1999:blog-1159396437078725749.post-35663747231690538942014-02-21T23:40:00.000+01:002014-02-21T23:40:43.169+01:00►Menno Aden - Room Portraits<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">►German photographer <a href="http://mennoaden.com/" target="_blank">Menno Aden</a> shot a series of pictures of Berlin interiors looking down from the ceiling – a series he calls "Room Portraits". To create the 'portraits', Aden fastens a camera with a wide-angle lens to the ceiling of a room and takes pictures straight down. Sometimes he uses a monopod or tripod, other times a boom. The camera is often controlled remotely. He takes about 150 pictures from the elevated position before he begins his post-production processing and editing.<br /><br />"Watching from a higher position on a small space is interesting because I can see someone's 'compressed personality'," said Aden to Slate in an interview. With the third dimension removed, the objects in a room seemed as if they are placed on an architect's floor plan. </span></span><br />
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<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Menno Aden started photographing rooms of friends in Berlin, to make
portraits of them without actually seeing them. "Many of them had - or
still have - an unpretentious life, which is quite typical in Berlin since
rents have been quite low", said Aden. Shooting from above, however,
can make even the most chaotic room look neat and organized.</span></span><br />
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"> </span></span><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">"This
happens because all the things on the floor such as the furniture
flatten into two dimensions", explained the photographer. "I knew about
it and I wanted this organized look over chaotic spaces because it makes
the viewer feel elevated - sublime - but to be honest I didn't know that an
untidy room would look so organized, too". </span></span><br />
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"> </span></span><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">"When I find a good
one [space] I walk through a room, stare at the floor, and note the
furniture or the structure of a room. If a room interests me, I'm making
plans where I'll put the camera and check the height and material of
the ceiling". </span></span><br />
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;"> </span></span><span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Aden doesn't limit himself to private spaces. He has take images of stores, elevators, basements and also parking garages.</span></span><br />
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Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-78196530549823446862014-02-21T20:08:00.001+01:002014-02-21T22:24:23.504+01:00►Christophe Jacrot - Overwhelming Rain<div dir="ltr" style="text-align: left;" trbidi="on">
►<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Christophe Jacrot lives and works in Paris. He started his photographic career with Paris sous la pluie (Paris in the rain)€, for which a book was edited in October 2008. Following this success, he photographed Hong Kong under the rain and New York under the rain. Aside from being a photographer, Christophe Jacrot has also directed a movie Prison à Domicile released in 1999.</span></span><br />
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<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">"In my opinion, there are two ways of capturing the world for a photographer; on the one hand grasping its horror, and on the other sublimating it," says French photographer <a href="http://christophejacrot.com/" target="_blank">Christophe Jacrot</a>. "I have chosen the second. More specifically, I like the way rain, snow and "bad weather" awaken a feeling of romantic fiction within me (climatic excesses are another topic). I see these elements as a fabulous ground for photography, an under-used visual universe with a strong evocative power, and with a richness of subtle lights. This universe escapes most of us, since we are too occupied getting undercover. Man becomes a ghostly silhouette wandering and obeying the hazards of rain or of snow. My approach is deliberately pictorial and emotional."</span></span></blockquote>
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Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-6816029323873310662014-02-13T17:38:00.001+01:002014-02-13T17:38:21.913+01:00►Michael Aaron Williams - Portraits Painted with Coffee<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">►Artist Michael Aaron Williams has been working on a beautiful series of portraits painted with coffee on found sheets of used ledger paper that dates back to the 1920s and 30s.</span></span><br />
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Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-90640939892479969592014-02-13T15:37:00.000+01:002014-02-21T20:11:08.763+01:00►Shintaro Ohata - Sculpture and Canvas to 3D Paintings<div dir="ltr" style="text-align: left;" trbidi="on">
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►<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">When first viewing the artwork of <a href="http://yukari-art.jp/en/shintaro_ohata_en" target="_blank">Shintaro Ohata</a>
up close it appears the scenes are made from simple oil paints, but
take a step back and you’re in for a surprise. Each piece is actually a
hybrid of painted canvas and sculpture that blend almost flawlessly in
color and texture to create a single image. The cinematic figures are
sculpted from polystyrene while the backgrounds are made from
traditional painting techniques. </span></span></div>
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<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Via his artist statement:</span></span></div>
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<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Shintaro Ohata is an artist who depicts little things in
everyday life like scenes of a movie and captures all sorts of light in
his work with a unique touch: convenience stores at night, city roads on
rainy day and fast-food shops at dawn etc. His paintings show us
ordinary sceneries as dramas. He is also known for his characteristic
style; placing sculptures in front of paintings, and shows them as one
work, a combination of 2-D and 3-D world. He says that it all started
from when he wondered "I could bring the atmosphere or dynamism of my
paintings with a more different way if I place sculptures in front of
paintings". Many viewers tend to assume that there is a light source set
into his work itself because of the strong expression of lights in his
sculpture. </span></span></div>
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Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-66284594598082644172012-03-10T19:08:00.000+01:002012-03-10T19:08:48.941+01:00►Misha Gordin - An image that talk<div dir="ltr" style="text-align: left;" trbidi="on"><div style="text-align: justify;"><span class="fbPhotoCaptionText">►<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Misha Gordin was born in 1946, the first year after World War II ended. Having survived the hardships of evacuation, Gordin's parents returned back home to Riga, Latvia, after the war which was then under Soviet occupation. Growing up among the Russian speaking population of Latvia, Russian became Gordin’s root culture. He graduated from the technical college as an aviation engineer but never worked as such. Instead he joined Riga Motion Studios as a designer of equipment for special effects. At this time social realism was an official culture of the country and having little formal knowledge about art, Gordin did not care about it too much. Information about modern western art was scarcely available.</span></span></span></div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/3kIGmZxPIqI?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-size: small;"><span class="fbPhotoCaptionText" style="font-family: Verdana,sans-serif;">Gordin started to photograph when he was nineteen, driven by his desire to create a personal style and vision. He was involved in portraiture and did some documentary shots, but soon realized the results were unsatisfactory. Putting his camera aside, Gordin concentrated on reading (Dostoevsky, Bulgakov) and cinematography (Tarkovsky, Parajanov). He was constantly looking for the right way to express personal feelings and thoughts using photography.<br />
One year later it came to him clearly and simply. Gordin decided to photograph "concepts" rather than the literal capturing of a moment on film. In 1972, Gordin created his first, and most important image, Confession. Instantly recognizing the potential possibilities of his conceptual approach and the knowledge acquired from creating this image, Confession become the backbone for the work he has since produced.<br />
In 1974, after years of disgust with communist authorities, Gordin left Latvia and immigrated to America.</span></span><span class="fbPhotoCaptionText"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span></span></div><div style="text-align: justify;"><span class="fbPhotoCaptionText"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh35qkXFBZb0bnlbPCREOvRUOvF1nnlsgqLUGLrs4hNYJglhC8R29zAaGbSkNP0aKgY_NhIYzW739uZprSM8I-2a_QCVZY58DBxqr4xO3EjZcPnhVcVANwWKTmxnjfIU3TxnR8dy7bIQ12_/s1600/shout9a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh35qkXFBZb0bnlbPCREOvRUOvF1nnlsgqLUGLrs4hNYJglhC8R29zAaGbSkNP0aKgY_NhIYzW739uZprSM8I-2a_QCVZY58DBxqr4xO3EjZcPnhVcVANwWKTmxnjfIU3TxnR8dy7bIQ12_/s640/shout9a.jpg" width="526" /></a></div><div style="text-align: justify;"><span class="fbPhotoCaptionText"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br />
</span></span></span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;"><span class="fbPhotoCaptionText">Artist's Statement…<br />
"My technique, though polished and improved throughout my career, cannot compete with the ease of digital manipulations. My first introduction to digital photography demonstrated how similar it is to analog techniques and I believe that a soul of a photograph, its magnetic language of feeling, can be achieved both ways. At this moment, however, I do not see any reason to switch to digital manipulation. My technique is unforgiving and laborious. Mistakes can be made, but not corrected. A trace of fear of making a mistake is present in every image I make, as is the precision of every move and the complete concentration necessary for my repetitive steps. These limitations and imperfections add to the power of my images with blade-line simplicity. While digital approaches may be instrumental in bringing conceptual photography from the periphery to a well-deserved place in Art Photography, I prefer the glowing material qualities of original gelatin-silver prints. Despite its similarities to other means of manipulating images, I think some element of "truthfulness" is lost in digital photography. It is, after all, truthfulness, and our trust in it, that made me choose photography as my tool.</span></span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
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</div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;"><span class="fbPhotoCaptionText">The greatest power of the photograph – our belief in its straight-forward truthfulness – has been lost forever. We place our confidence in what accurately represents reality, and photography, with its realistic accuracy, has long been aligned with "truth" and its etymological relative, "trust". Its undeniable advantage to painting and other mediums is that we subconsciously believe that what is photographed has to exist. In the digital era, however, truth can be conjured and changes made quickly, with no chemicals, no darkness and no mistakes. An obviously manipulated image tries to "trick" its viewers with its version of the truth, thereby diminishing our trust in its image. The question arises: do my photographs represent external reality, or do they point inwards towards my soul? Am I documenting the existing world, or creating my own world, so real but nonexistent?</span></span><span style="font-size: small;"><span class="fbPhotoCaptionText"> </span></span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;"><span class="fbPhotoCaptionText"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZRFAupJwYs50zgUDGbD3DBA9IwqG-V8-YC3MiTOkOasu4K5V8vIGCgq8ali3rf0SRkcM2sKUBEjoOI_BC35kiaJVSLOKqs40u2tjD2hfTWE-gcpV-2G2nKSXyVycTvnzzKdbyXBoV96bI/s1600/prisoner.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZRFAupJwYs50zgUDGbD3DBA9IwqG-V8-YC3MiTOkOasu4K5V8vIGCgq8ali3rf0SRkcM2sKUBEjoOI_BC35kiaJVSLOKqs40u2tjD2hfTWE-gcpV-2G2nKSXyVycTvnzzKdbyXBoV96bI/s640/prisoner.jpg" width="452" /></a></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;"><span class="fbPhotoCaptionText"><br />
</span></span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;"><span class="fbPhotoCaptionText"></span></span><span class="fbPhotoCaptionText">What truth can you find in the manipulated image, what is trustworthy about visions of a world that does not externally exist? And does it matter? To me it matters. The translation of personal concepts into the language of photography reflects possible answers to the major questions of being: birth, death, and life. The transformation of a concept into reality is an essential part of conceptual photography, and imbues it with the reality that resonates with one’s inner sphere of experience, as in painting, poetry, music, and sculpture. Conceptual photography employs the special talent of intuitive vision. The poor concept, perfectly executed and realistically portrayed, still makes a poor photograph.</span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf-nX5pJh1h2lSmYziIsHxk151khyphenhyphenW0M7exrqvn3ChKft-KBHZBqqCk6mo7wr_lm-4MvMNNRfb-BH0vsYB9dyrMSflNDDAQ2sukItbHgdQuWB361z2WLUd09JQklhj02oSHSpiybv-yKY-/s1600/Sheptun4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="372" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf-nX5pJh1h2lSmYziIsHxk151khyphenhyphenW0M7exrqvn3ChKft-KBHZBqqCk6mo7wr_lm-4MvMNNRfb-BH0vsYB9dyrMSflNDDAQ2sukItbHgdQuWB361z2WLUd09JQklhj02oSHSpiybv-yKY-/s640/Sheptun4.jpg" width="640" /></a></div><br />
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</div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span class="fbPhotoCaptionText">In all my years of creating conceptual images, I have tried to make them as realistic as possible. The plausibility of my scenes is not the most important part; they function in such a way that the question "Is it real?" does not arise. The authenticity that I present is that of an interior moment, so that my viewers may trust and react to the conceptual truths that they may know to be external fictions. I don’t interpret my images. I feel them. Nevertheless I always encourage my viewers to interpret my work as they see or feel it. My goal is to create an image that talk."</span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
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</div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span class="fbPhotoCaptionText"><a href="http://www.bsimple.com/home.htm" rel="nofollow nofollow" target="_blank"><span>http://www.bsimple.com/</span><wbr></wbr><span class="word_break"></span>home.htm</a></span><span class="fbPhotoCaptionText"> </span><span class="fbPhotoCaptionText"> </span></div></div>Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-23587806537510526512012-02-13T14:49:00.001+01:002012-02-13T18:13:29.924+01:00►Opulence, I has it - Direct TV commercial<div dir="ltr" style="text-align: left;" trbidi="on"><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">►Get a glimpse into the Opulent life. He loves his riches - gold remotes, Van Gogh paintings and of course the Swedish models. And don't forget his pygmy giraffe ;)</span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/CjWYbcbpiWA?feature=player_embedded' frameborder='0'></iframe></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div></div>Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-23748207667761617482012-02-12T23:37:00.001+01:002012-02-13T18:12:58.675+01:00►Robert Harvery Oshatz – The Wilkinson residence<div dir="ltr" style="text-align: left;" trbidi="on"><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">►Evoking the feeling of being in a tree house is exactly what the beautiful Wilkinson residence in Portland does. Located on a flag lot, the extraordinary house is brilliantly designed to perfectly blend with the natural landscape. A steep sloping grade provided the opportunity to bring the main level of the house into the tree canopy.</span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL1nGwVdXIeEA_SptOjw3IyBre1Pcq0xV6ANnR3gXsmqAyw8-PWM2L_CuDQK3-ZmO3bycA8T_gja6JIInfPzczPSpAuAACezwpUKU5hy-9yYRkLkaMC4VeLZhDyn0QGgEyRZfkLy2kbE-1/s1600/Robert-Harvery-Oshatz-The-Wilkinson-Residence-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL1nGwVdXIeEA_SptOjw3IyBre1Pcq0xV6ANnR3gXsmqAyw8-PWM2L_CuDQK3-ZmO3bycA8T_gja6JIInfPzczPSpAuAACezwpUKU5hy-9yYRkLkaMC4VeLZhDyn0QGgEyRZfkLy2kbE-1/s640/Robert-Harvery-Oshatz-The-Wilkinson-Residence-1.jpg" width="640" /></a></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div style="font-family: Verdana,sans-serif; text-align: justify;">Catering to the desire of the client, Wilkinson Residence designed a dwelling that not only became part of the natural landscape but also addressed the flow of music. It has a natural wood ceiling that wonderfully floats on curved laminated wood beams, passing through a generous glass wall, which wraps around the main living room. The interior space of this amazing house flows seamlessly through to the exterior. Taking a walk through the house will help you see its complexities and its connection to the exterior.<span style="font-size: small;"> </span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;"><br />
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<a href="http://www.oshatz.com/" target="_blank"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">http://www.oshatz.com/ </span></span></a><br />
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</span></div></div>Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-24903160506262519162012-02-12T23:10:00.001+01:002012-02-13T18:12:33.889+01:00►Ron Muech – Hyper realistic sculptor<div dir="ltr" style="text-align: left;" trbidi="on"><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">►Ronald "Ron" Mueck (born 1958) is an Australian hyperrealist sculptor working in the United Kingdom.There is a point, when sculpturing, at witch taking great care of details leads to creating hyper realistic artwork<b> </b>that cannot be set apart from the real world objects it is supposed to represent. Ron Muech<b> </b>sculptures are just that, extraordinary realistic art that seems real even after looking at it for the tenth time. The design of his creative sculptures can be explained just using this word: superb!</span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://1.gvt0.com/vi/HYX_jV-lAfk/0.jpg" height="266" width="320"><param name="movie" value="http://www.youtube.com/v/HYX_jV-lAfk&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><embed width="320" height="266" src="http://www.youtube.com/v/HYX_jV-lAfk&fs=1&source=uds" type="application/x-shockwave-flash"></embed></object></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div style="font-family: Verdana,sans-serif; text-align: justify;"></div><div style="font-family: Verdana,sans-serif; text-align: justify;"></div><div style="font-family: Verdana,sans-serif; text-align: justify;"></div><div style="font-family: Verdana,sans-serif; text-align: justify;"></div><div style="font-family: Verdana,sans-serif; text-align: justify;"></div><div style="font-family: Verdana,sans-serif; text-align: justify;"></div><div style="font-family: Verdana,sans-serif; text-align: justify;"></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><b></b><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Mueck's early career was as a model maker and puppeteer for children’s television and films, notably the film Labyrinth for which he also contributed the voice of Ludo.</span></span> </div><div></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;"><b></b>Mueck moved on to establish his own company in London, making photo-realistic props and<b></b> animatronics<b> </b>for the advertising industry. Although highly detailed, these props were usually designed to be photographed from one specific angle hiding the mess of construction seen from the other side. <b></b>Mueck increasingly wanted to produce realistic sculptures which looked perfect from all angles.</span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCIIFd0cX0qLeUjFM_-boXignxO9X0rGK98bIUmXbQOhwej91vqQoTgQGrQlOae8hV6JB8onso1biZMKR3fBrzhIDkdDzM_EjxpYWD28BXYXEtcnIvkj42v641Vkdm262mk377xr1wSkbW/s1600/ron-mueck-artwork-sculpture-03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCIIFd0cX0qLeUjFM_-boXignxO9X0rGK98bIUmXbQOhwej91vqQoTgQGrQlOae8hV6JB8onso1biZMKR3fBrzhIDkdDzM_EjxpYWD28BXYXEtcnIvkj42v641Vkdm262mk377xr1wSkbW/s640/ron-mueck-artwork-sculpture-03.jpg" width="640" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-OcugD9lAqHDB28_OZHdLwZc6iPfFYfVgQLw3TNzU37Vl_JjxGF_cqRjYVQ120ujV1h5ClyQQr_hdYVFM0hMjBdpDuCddLzGJl_VcV9fER7_oVWi8YtCdis9sT1dxFTC5Hpa-WI1x7n0y/s1600/ron-mueck-artwork-sculpture-03a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-OcugD9lAqHDB28_OZHdLwZc6iPfFYfVgQLw3TNzU37Vl_JjxGF_cqRjYVQ120ujV1h5ClyQQr_hdYVFM0hMjBdpDuCddLzGJl_VcV9fER7_oVWi8YtCdis9sT1dxFTC5Hpa-WI1x7n0y/s640/ron-mueck-artwork-sculpture-03a.jpg" width="640" /></a></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div>In 1996 Mueck<b> </b>transitioned to fine art<i></i>, collaborating with his mother-in-law, Paula Rego, to produce small figures as part of a tableau she was showing at the Hayward Gallery. Rego introduced him to Charles Saatchi who was immediately impressed and started to collect and commission work.<br />
This led to the piece which made Mueck’s name, being included in the Sensation show at the Royal Academy the following year. Dead Dad is a rather haunting silicone and mixed media sculpture of the corpse of Mueck’s father reduced to about two thirds of its natural scale. It is the only work of Mueck’s that uses his own hair for the finished product.<br />
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<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/pTy5cORM3CI?feature=player_embedded' frameborder='0'></iframe></div><br />
<div style="text-align: justify;"><b></b><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Mueck's sculptures faithfully reproduce the minute detail of the human body, but play with scale to produce disconcertingly jarring visual images. His five meter high sculpture Boy 1999 was a feature in the Millennium Dome and later exhibited in the Venice Biennale</span><b style="font-family: Verdana,sans-serif;"></b><span style="font-family: Verdana,sans-serif;">.</span></span></div><div></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">In 2002 his sculpture Pregnant Woman<b></b> was purchased by the National Gallery of Australia for $800,000.</span></div><div style="text-align: justify;"></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">Check out the photographs that speak louder than words about the detail levels and the creativeness of his artsy sculptures.</span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSpuyeVtJ9ysiv6oh-WjUPAwADC2l89poxBk3UsgofLWTLjwNhNDeXJSmMe95kdkUJzhyX7ZOb2ePkcwq5qhtdMGo55bUVZXSSwqcPVEoDnL19MmklDTl2-PP2monrzwsWuXuZUn1qyPnn/s1600/29.ron+mueck+a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="602" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSpuyeVtJ9ysiv6oh-WjUPAwADC2l89poxBk3UsgofLWTLjwNhNDeXJSmMe95kdkUJzhyX7ZOb2ePkcwq5qhtdMGo55bUVZXSSwqcPVEoDnL19MmklDTl2-PP2monrzwsWuXuZUn1qyPnn/s640/29.ron+mueck+a.jpg" width="640" /></a></div><br />
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</div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">Mueck first gained international attention with Dead Man, a naked, half-scale impression of his father shown in “Sensation: Young British Artists from the Saatchi Collection” (1997) at the Royal Academy of Arts in London. With no formal art training, he perfected his skills in the commercial world of special effects, model-making, and animatronics. In 1996, he presciently created for his mother-in-law, well-known British painter Paula Rego, a figure of Pinocchio, the quintessential embodiment of truth and lies. Saatchi saw this sculpture, and smitten, began acquiring Mueck’s work.</span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
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</div></div>Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-56077215245527076122012-02-12T17:52:00.003+01:002012-02-13T18:12:04.005+01:00►Adam Hunter Caldwell - Evoking paintings<div dir="ltr" style="text-align: left;" trbidi="on"><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">►Adam Hunter Caldwell, <span style="font-family: Verdana,sans-serif;">born 1963 Framingham, Massachusetts</span>. </span>Education <span style="font-size: small;">BFA with honors CCAC in 1998.</span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"></div><span style="font-family: Verdana,sans-serif; font-size: small;">Artist's Statement...</span><br />
<div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">My paintings and drawings juxtapose elements of abstract expressionism and classical figuration. During my training at the California College of Arts and Crafts, I began to create collage drawings that layered disparate images on top of one another; I now use oil paint in a similar way, starting with an abstract background and then adding more photo-realistic details, allowing the work to dictate its own construction. The resulting palimpsest of figures and abstract shapes represents the conflicted and paradoxical emotions that underlie my work. My paintings evoke the tensions between mind and body, self and other, present and past. They also raise questions about the nature of identity, particularly concerning issues of gender and sexuality. I am deeply concerned about the world around me, and my work reflects my reactions to social issues such as war and consumerism by contrasting images from American advertisements and popular culture with images of rituals from around the world.</span></span> </div><div style="text-align: justify;"><br />
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</div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">The eclectic nature of my work reflects my wide range of interests and influences. My figurative painting and drawing has been influenced by the realistic yet expressive work of Odd Nerdrum, Francis Bacon, Lucian Freud, Antonio López García, Jenny Saville, and Barron Storey, whom I studied under at CCAC. Theories of consciousness by philosophers such as Daniel Dennett have also informed my art work. I am inspired by my grandfather, author Erskine Caldwell, and his commitment to representing the unseen and marginalized members of our society. I am also heavily influenced by music, movies, and comics, all of which have shaped my identity. I am an accomplished guitarist and martial artist, and these disciplines also inform my artistic perspective. </span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
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<span style="font-size: small;">One of my most important areas of inspiration is the community of artists I surround myself with. Painting in particular can be a very lonely and isolating practice, so I make a point to attend drawing groups and I share studio space with David Choong Lee. Although the process can be solitary, I paint to commune with others and allow them entrance into my interiority. Painting connects me to my world and times and culture. I always hope to create work that will invoke in someone else the feelings I have had before great art. </span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
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<span style="font-size: small;"><a href="http://www.adamhuntercaldwell.com/">http://www.adamhuntercaldwell.com</a> </span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><br />
</div>Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-48689734170531710502012-02-12T17:11:00.001+01:002012-02-13T18:11:42.167+01:00►Alex Varanese - Urban cartography<div dir="ltr" style="text-align: left;" trbidi="on"><div style="text-align: justify;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif"; line-height: 115%;">►Alex Michael Varanese releases music as <a href="http://www.brokentimemachines.com/">broken time machines</a>, has released one episode so far of an <a href="http://www.dantondiphthong.com/">animated sitcom</a>. He is native to the bay area. Thinks John Hughes is bigger than Jesus. He is an ardent believer in <a href="http://en.wikipedia.org/wiki/Hard_determinism">hard determinism</a> and wishes he were better friends with fate; is guilty of an overuse - but never misuse - of the word "literally"; draws upon a limitless supply of cheeky quips designed specifically for ironic, post-hipster posturing; likes red more than you do.</span></span></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div style="text-align: justify;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif"; line-height: 115%;">Alex's clients are: Nike, Google, Publicis / Chevrolet, Fortune, Playboy, Island Records, Wired UK, Money Magazine, Surface Magazine, Advanced Photoshop Magazine, Computer Arts Magazine, CBS, Sapient-Nitro / Drambuie, Rowohlt Verlag / Jack Kerouac (<a href="http://www.alexvaranese.com/clients">view work</a>).</span></span></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div style="text-align: justify;"><br />
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</div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif"; line-height: 115%;"><a href="http://www.alexvaranese.com/">http://www.alexvaranese.com/</a> </span></span></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif"; line-height: 115%;"><br />
</span></span></div></div>Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-33891329592334412012012-02-12T15:18:00.004+01:002012-02-13T18:11:17.625+01:00►Philippe Faraut - Mastering portraiture<div dir="ltr" style="text-align: left;" trbidi="on"><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">►Philippe Faraut </span> is a figurative artist specializing in <a href="http://philippefaraut.com/portrait.html">life-size portrait sculptures</a> and monumental <a href="http://philippefaraut.com/stone.html">stone sculptures</a>. His media of choice are water-based clay and marble. He <span style="font-size: small;">received his degree in woodcarving and the construction of French fine furniture from Germain Sommeillier in Annecy, France, his boyhood home. An avid traveler, Philippe's destinations have allowed him the opportunity to study the cultures of many countries in Europe, Asia, Africa and the Caribbean, thus influencing his work in portraiture sculpting. After establishing residence in the Chesapeake Bay area of Virginia, he developed an interest in modeling the head in clay. Soon thereafter, he relocated his studio to New York State and began teaching <a href="http://philippefaraut.com/workshops.php"> sculpting classes</a>. </span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/XeoBMqS10rI?feature=player_embedded' frameborder='0'></iframe></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">Philippe has created numerous original works ranging from six-inch porcelain figurines to monuments in both stone and bronze. He has exhibited his sculptures in various galleries and national competitions including several of the National Sculpture Society's Annual Exhibitions shown in New York City and Brookgreen Gardens, South Carolina, as well as the American Portrait Society's Annual Exhibit in New York City. In addition, he has studied <a href="http://philippefaraut.com/forensic.html">forensic reconstruction</a> with internationally recognized expert Betty Pat Gatliff.</span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
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</div><div></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">For nearly twenty years Philippe has traveled throughout the United States and Canada, teaching sculptors and aspiring sculptors how to render portraits in clay at private studios and institutions such as the Longview Museum of Fine Art in Texas. Together with his wife Charisse, the couple has made Philippe's techniques available to students in the form of a <a href="http://philippefaraut.com/books.html">three-part video series</a>, in addition to <a href="http://philippefaraut.com/books.html">step-by-step instructional sculpting books</a>. </span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9ck-5p9ov_1BLu5u9APbuq7AeBTjEZxZB9XDCRBiT-yrZ_G05bq_olkAuK1Qpbv9AimR93L4gWkhy2laQQbqC-Cqy5Rr8_HjYCceaQW8dsnyODKOFbE3EV3dQYiCQJCsIcXTmmOc_1fPM/s1600/flower1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9ck-5p9ov_1BLu5u9APbuq7AeBTjEZxZB9XDCRBiT-yrZ_G05bq_olkAuK1Qpbv9AimR93L4gWkhy2laQQbqC-Cqy5Rr8_HjYCceaQW8dsnyODKOFbE3EV3dQYiCQJCsIcXTmmOc_1fPM/s640/flower1.jpg" width="408" /></a></div><br />
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<div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">As an <a href="http://philippefaraut.com/about.html">award-winning stone sculptor</a> specializing in representational art, Philippe feels that the renewed interest and willingness of artists to return to the study of the human form has the potential to bring back to our society an appreciation for traditional beauty.</span></div><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Philippe and his wife Charisse are committed to creating unique specialty teaching materials for their company PCF Studios, Inc. All tools and casts are designed and made locally at their Honeoye studio. They also oversee the quality and printing of their books and DVD productions by printing in New York State.</span></span><br />
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<span style="font-size: small;"><a href="http://philippefaraut.com/" target="_blank">http://philippefaraut.com/ </a></span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;"><br />
</span></div></div>Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-61632689694930320542012-02-12T00:32:00.007+01:002012-02-13T19:19:03.989+01:00►Henri Matisse - Words of wisdom<div dir="ltr" style="text-align: left;" trbidi="on"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► Why have I never been bored? For more than fifty years I have never ceased to work. </span></span></div><div></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► When I put a green, it is not grass. When I put a blue, it is not the sky.</span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► I desire pleasure. I am not a revolutionary by principle. I was educated in an entirely different manner. </span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► My mother liked everything I did. It is from her affection for her that I always drew what theory failed to offer me per finish the painting.</span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► Would not it be best to leave room to mystery? </span></span></div><br />
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<m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► What interests me most is neither still life nor landscape: it is the human figure. </span></span></div><div></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► What I dream of is an art of balance, of purity and serenity, devoid of troubling or depressing subject matter, an art which could be for every mental worker, for the businessman as well as the man of letters, for example, a soothing, calming influence on the mind, something like a good armchair which provides relaxation from physical fatigue.</span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► Expression, for me, does not reside in passions glowing in a human face or manifested by violent movement. The entire arrangement of my picture is expressive; the place occupied by the figures, the empty spaces around them, the proportions, everything has its share.</span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► I have always tried to hide my efforts and wished my works to have the light joyousness of springtime, which never lets anyone suspect the labors it has cost me.... </span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► Drawing is like making an expressive gesture with the advantage of permanence.</span></span></div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikzBXLGqHHe-oMHz5nwe3WGCtxzXoFAiSTsJPdAnbt3sLz86Z9m4ndj2oslaIEfjOAJdrQkQAjZcxTk_MHVxJ0tuR0fWcuxZ7e1RFBAmRjtDRbUsAxXAljD60nisQzPnuD1tI-LVVvq1Z-/s1600/tumblr_le4mia5jXJ1qzz5ieo1_500.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikzBXLGqHHe-oMHz5nwe3WGCtxzXoFAiSTsJPdAnbt3sLz86Z9m4ndj2oslaIEfjOAJdrQkQAjZcxTk_MHVxJ0tuR0fWcuxZ7e1RFBAmRjtDRbUsAxXAljD60nisQzPnuD1tI-LVVvq1Z-/s640/tumblr_le4mia5jXJ1qzz5ieo1_500.png" width="640" /></a></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► I do not literally paint that table, but the emotion it produces upon me.</span></span></div><div></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► Exactitude is not truth.</span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► Cutting into color reminds me of the sculptor's direct carving.</span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► Seek the strongest color effect possible... the content is of no importance.</span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► In modern art, it is undoubtedly to Cézanne that I owe the most.</span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► The essential thing is to spring forth, to express the bolt of lightning one senses upon contact with a thing. The function of the artist is not to translate an observation but to express the shock of the object on his nature; the shock, with the original reaction.</span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► I wouldn't mind turning into a vermilion goldfish.</span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► A young painter who cannot liberate himself from the influence of past generations is digging his own grave.</span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► There is nothing more difficult for a truly creative painter than to paint a rose, because before he can do so he has first to forget all the roses that were ever painted.</span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► You study, you learn, but you guard the original naiveté. It has to be within you, as desire for drink is within the drunkard or love is within the lover.</span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► An artist must never be a prisoner. Prisoner? An artist should never be a prisoner of himself, prisoner of style, prisoner of reputation, prisoner of success, etc.</span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► It has bothered me all my life that I do not paint like everybody else.</span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► I don't know whether I believe in God or not. I think, really, I'm some sort of Buddhist. But the essential thing is to put oneself in a frame of mind which is close to that of prayer.</span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► I would like to recapture that freshness of vision which is characteristic of extreme youth when all the world is new to it.</span></span></div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx27CqAhcfbNa5-yAV8Ic7zj97NVmyuYIUFALDMJgc4Na-GPz5J_8lK5KoAdUmRqsr4anDE0_BoEA70xXnzaGqCQq7UJkzfvkOZRiC5LO4Z0M7BDcLN1amBGPihvu9sW-ErY0rtNJqsLqC/s1600/610951.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx27CqAhcfbNa5-yAV8Ic7zj97NVmyuYIUFALDMJgc4Na-GPz5J_8lK5KoAdUmRqsr4anDE0_BoEA70xXnzaGqCQq7UJkzfvkOZRiC5LO4Z0M7BDcLN1amBGPihvu9sW-ErY0rtNJqsLqC/s640/610951.jpg" width="640" /></a></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► There are always flowers for those who want to see them.</span></span></div><div></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► Creativity takes courage.</span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► It is not enough to place colors, however beautiful, one beside the other; colors must also react on one another. Otherwise, you have cacophony.</span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► Work cures everything.</span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► Impressionism is the newspaper of the soul.</span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► I have always sought to be understood and, while I was taken to task by critics or colleagues, I thought they were right, assuming I had not been clear enough to be understood. This assumption allowed me to work my whole life without hatred and even without bitterness toward criticism, regardless of its source. I counted solely on the clarity of expression of my work to gain my ends. Hatred, rancor, and the spirit of vengeance are useless baggage to the artist. His road is difficult enough for him to cleanse his soul of everything which could make it more so.</span></span></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">► It is my dream to create an art which is filled with balance, purity and calmness, freed from a subject matter that is disconcerting or too attention-seeking. In my paintings, I wish to create a spiritual remedy, similar to a comfortable armchair which provides rest from physical expectation for the spiritually working, the businessman as well as the artist.</span></span></div></div>Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-35597208893479587862012-02-11T18:26:00.002+01:002012-02-13T18:10:08.836+01:00►Santtu Mustonen - Vibrant illustrations<div dir="ltr" style="text-align: left;" trbidi="on"><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">►Works by Santtu Mustonen are illustrations with a bit of movement that make them look 3Dimensional. Santtu is </span>an Amsterdam based graphic designer / illustrator / trippy-gif-maker, has an all new portfolio bursting with strange shapes, wild lines, and funky color combinations that will make you poke your computer’s screen.</div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ85Ux5y8xEJyykpBePgFDHp8SOIJSHTCBuDwYRCo2ljzHXXbXp4jAf5kPSUf0qfT4G3-PihJygE2e6i7Hg71kz95W33MqWeYcDS2ViNecvvqbBQZeyGWMStLO0w54T-WAaPX1FxJNyvce/s1600/Santtu_01_none.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ85Ux5y8xEJyykpBePgFDHp8SOIJSHTCBuDwYRCo2ljzHXXbXp4jAf5kPSUf0qfT4G3-PihJygE2e6i7Hg71kz95W33MqWeYcDS2ViNecvvqbBQZeyGWMStLO0w54T-WAaPX1FxJNyvce/s640/Santtu_01_none.gif" width="640" /></a></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBoceeB_485gJ4qn-2Fz70Zi_a71WlhPN5XWNEtuX6tR7j-BKa-cYpqOgaaDfwE3meMFoqU__2T2OAGw9gJCPn6_m_n4pkMyuDFcZl6mlOL4EI_1TIJZacL9SAvVBrvTXUm0WtIMuZm3Ql/s1600/Santtu_04_none.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBoceeB_485gJ4qn-2Fz70Zi_a71WlhPN5XWNEtuX6tR7j-BKa-cYpqOgaaDfwE3meMFoqU__2T2OAGw9gJCPn6_m_n4pkMyuDFcZl6mlOL4EI_1TIJZacL9SAvVBrvTXUm0WtIMuZm3Ql/s640/Santtu_04_none.gif" width="640" /></a></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div style="font-family: Verdana,sans-serif; text-align: justify;"><a href="http://www.santtumustonen.com/" target="_blank">http://www.santtumustonen.com/ </a></div></div>Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-89095449192164526242012-02-11T18:16:00.001+01:002012-02-13T18:09:33.203+01:00►Spunky Zoe - Captivating mixed media<div dir="ltr" style="text-align: left;" trbidi="on"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div class="MsoNormal" style="text-align: justify;"><span style="font-family: "Verdana","sans-serif"; font-size: 10pt; line-height: 115%;"><b><span style="color: blue; font-family: "Verdana","sans-serif";"></span></b></span><span style="font-size: small;"><b style="font-family: Verdana,sans-serif; font-weight: normal;">►Spunky Zoe (Seungyea Park) </b><span style="font-family: Verdana,sans-serif; line-height: 115%;">is an artist based out of South Korea. Spunky Zoe creates large scale pieces using mere ball-point pens and acrylic on paper. </span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRMOY_WNISMSgS_Zk7hG9Vje4aENsmrAhNQIT3UV9b_4pYwZAQL-wcyt4m61PFWq2g8azBi5PRm4Vx_JwVs2GwMqWvPJRo3djp7hkGMDdsNSN44Hhcx-sLZImncfm1hVZMpPz1Z9A1U3Kp/s1600/Spunky-Zoe_web1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRMOY_WNISMSgS_Zk7hG9Vje4aENsmrAhNQIT3UV9b_4pYwZAQL-wcyt4m61PFWq2g8azBi5PRm4Vx_JwVs2GwMqWvPJRo3djp7hkGMDdsNSN44Hhcx-sLZImncfm1hVZMpPz1Z9A1U3Kp/s640/Spunky-Zoe_web1.jpg" width="478" /></a></div><br />
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</div></div>Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-11430275327542997002012-02-11T18:03:00.001+01:002012-02-13T18:08:52.430+01:00►Lee Jeffries - Nothing lasts forever<div dir="ltr" style="text-align: left;" trbidi="on"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";"><b style="color: black; font-weight: normal;"><span style="font-family: "Verdana","sans-serif";"><span style="color: white;">►Lee Jeffries</span></span></b><span style="color: white;"> </span>is an very talented photographer based out of Manchester, UK, who, through a chance meeting with a young homeless girl in the streets of London, changed his direction, approach, and perception of his art. Jeffries uses homeless people that be meets throughout his travels as the primary and sole subjects in his work. Jeffries creates some amazing and personal B&W portraiture photography that offers a snapshot glimpse into the soul of each individual, presenting the homeless as equals, whereas they’re typically a quietly ignored population.</span></span></div><div style="text-align: justify;"><br />
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</div><div style="text-align: justify;"><span style="font-size: small;"><span id="more-33030"></span><span style="font-family: "Verdana","sans-serif";">"Situations arose, and I made an effort to learn to get to know each of the subjects before asking their permission to do their portrait."</span></span></div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEginM-7PB4kgVLMjnBW3XBEcZpmnkmPPpPCHe2-UMrJRnJpCGlNBeq7FOd3gPV7dHIOpz3I_1qkFggqSxdl0JF98P1WbnqIUM8n0FEy4y9q4qVc2YF48LmXEx_yHxn4dhHWLX-XjFz0CJO2/s1600/Lee-Jeffries_web11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEginM-7PB4kgVLMjnBW3XBEcZpmnkmPPpPCHe2-UMrJRnJpCGlNBeq7FOd3gPV7dHIOpz3I_1qkFggqSxdl0JF98P1WbnqIUM8n0FEy4y9q4qVc2YF48LmXEx_yHxn4dhHWLX-XjFz0CJO2/s640/Lee-Jeffries_web11.jpg" width="640" /></a></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8HNE18dVc6GsEFtmXbDoqDep8p60PS6Dv4r2f8UzqnFfBtQnH9tnz8w6SlTuKyTkaqw6MorkzEwuwv9zQBQaSGuPkTO2HvZSdAJF87megqs4E7gqBFfSjNzg1lK5EcKl5Jo6JWX9WJJFQ/s1600/Lee-Jeffries_web7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8HNE18dVc6GsEFtmXbDoqDep8p60PS6Dv4r2f8UzqnFfBtQnH9tnz8w6SlTuKyTkaqw6MorkzEwuwv9zQBQaSGuPkTO2HvZSdAJF87megqs4E7gqBFfSjNzg1lK5EcKl5Jo6JWX9WJJFQ/s640/Lee-Jeffries_web7.jpg" width="640" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJukMeBYpEhipT1NCOgll9REwMYDsanxPC2ZwPyL1aLB53QP4gKbn4iEs-fxHzDroXORlkSitbvtQTeABHn6k0d5zLccAakAMhYJ7-aN5oazNq6RqUcdcWjbuz3UEs4VmOkwF16vESP7Ox/s1600/Lee-Jeffries_web8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJukMeBYpEhipT1NCOgll9REwMYDsanxPC2ZwPyL1aLB53QP4gKbn4iEs-fxHzDroXORlkSitbvtQTeABHn6k0d5zLccAakAMhYJ7-aN5oazNq6RqUcdcWjbuz3UEs4VmOkwF16vESP7Ox/s640/Lee-Jeffries_web8.jpg" width="640" /></a></div><div style="text-align: justify;"><br />
</div></div>Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-28030805694581261442012-02-11T17:50:00.001+01:002012-02-13T18:08:30.452+01:00►Kris Kuksi – Fascinating art of the macabre<div dir="ltr" style="text-align: left;" trbidi="on"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">►Born March 2, 1973, in Springfield Missouri and growing up in neighboring Kansas, Kris spent his youth in rural seclusion and isolation along with a blue-collar, working mother, two significantly older brothers, and an absent father. Open country, sparse trees, and alcoholic stepfather, all paving the way for an individual saturated in imagination and introversion. His propensity for the unusual has been a constant since childhood, a lifelong fascination that lent itself to his macabre art later in life. The grotesque to him, as it seemed, was beautiful.</span></span></div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/O1eH4kywkZM?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">Kris Kuksi garners recognition and acclaim for the intricate sculptures that result from his unique and meticulous technique. A process that requires countless hours to assemble, collect, manipulate, cut, and re-shape thousands of individual parts, finally uniting them into an orchestral-like seamless cohesion that defines the historical rise and fall of civilization and envisions the possible future(s) of humanity. Each sculpture embodies the trademarks of his philosophy and practice, while serving as a testament to the multifaceted nature of perception – From timeless iconic references of Gods and Goddess, to challenging ideas of organized religion and morality, to the struggle to understand, and bend, the limits of mortality. None is complete without a final and brilliant touch of satire and rebuke all conceived in the aesthetic essence of the Baroque fused with the modern day industrial world.</span></span></div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvYweIAjmWpGgXhfAVUQgBO4UZfE5at5gEDYKXF3Fc4CYUyKDcww_vrFYsvoFHGzb_kUNtI9MigAqUu20F8U65kfUDqPEoB3yJrM5DoYATFIhvoRcEAk6EAHJ5S0Dbagob4pPlPw6D1oer/s1600/2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvYweIAjmWpGgXhfAVUQgBO4UZfE5at5gEDYKXF3Fc4CYUyKDcww_vrFYsvoFHGzb_kUNtI9MigAqUu20F8U65kfUDqPEoB3yJrM5DoYATFIhvoRcEAk6EAHJ5S0Dbagob4pPlPw6D1oer/s640/2.jpg" width="640" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7nJXdQmzkb2S6Wj2FSWcqr1BHRBDUYzOgNHjVxTAbViDmOJ2RT1jLahO_-8g4JhwQWfqvoysmxgWHirClnlAXgzugf0IxhMvJ2eeD462YY6aYra_htyQ_nLQemtoLdgqTbi0CgQsR8LBx/s1600/2s.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7nJXdQmzkb2S6Wj2FSWcqr1BHRBDUYzOgNHjVxTAbViDmOJ2RT1jLahO_-8g4JhwQWfqvoysmxgWHirClnlAXgzugf0IxhMvJ2eeD462YY6aYra_htyQ_nLQemtoLdgqTbi0CgQsR8LBx/s640/2s.jpg" width="640" /></a></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">In personal reflection, Kris feels that in the world today much of mankind is oftentimes frivolous and fragile, being driven primarily by greed and materialism. He hopes that his art exposes the fallacies of Man, unveiling a new level of awareness to the viewer. His work has received several awards and prizes and has been featured in over 100 exhibitions in galleries and museums worldwide including the Smithsonian’s National Portrait Gallery. Kris’ art can also be seen in a number of international art magazines, book covers and theatrical posters. Kris’ art is featured in both public and private collections in the United States, Europe, and Australia that include individuals such as Mark Parker (Nike CEO), Kay Alden (three time Emmy award winning writer for <i><span style="font-family: "Verdana","sans-serif";">Young and the Restless</span></i> & <i><span style="font-family: "Verdana","sans-serif";">Bold and the Beautiful</span></i>), Fred Durst (musician, and film director), Chris Weitz (movie director <i><span style="font-family: "Verdana","sans-serif";">The Golden Compass</span></i> & <i><span style="font-family: "Verdana","sans-serif";">Twilight: New Moon</span></i>) Guillermo del Toro (movie director <i><span style="font-family: "Verdana","sans-serif";">Pan’s Labyrinth</span></i> & <i><span style="font-family: "Verdana","sans-serif";">Hell Boy 2</span></i>) and Robin Williams (Academy Award and Golden Globe winning actor).</span></span></div><div style="text-align: justify;"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrC-Y7EC9N2_faW7VAvPQdzNOtAbdgv7DR8NMKYowmvQWrcp6AhoiQU8cjiAFunvOTd0azsXF3BzdXdQtq4sP_ugjEmcB95vxXkO80NbjUugAFCYV30iPlafR_Yb4qDaP_Vd128cLTVDGT/s1600/wkris-kuksi01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="486" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrC-Y7EC9N2_faW7VAvPQdzNOtAbdgv7DR8NMKYowmvQWrcp6AhoiQU8cjiAFunvOTd0azsXF3BzdXdQtq4sP_ugjEmcB95vxXkO80NbjUugAFCYV30iPlafR_Yb4qDaP_Vd128cLTVDGT/s640/wkris-kuksi01.jpg" width="640" /></a></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";"><a href="http://kuksi.com/">http://kuksi.com/</a> </span></span></div></div>Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-78152453064655540272012-02-11T17:28:00.002+01:002012-02-13T18:07:07.913+01:00►John Clang - Moments of great montages<div dir="ltr" style="text-align: left;" trbidi="on"><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;"><b style="font-weight: normal;">►John Clang's</b> earlier photo series called "Time"<i></i> is amazing series where each strip of the photo are shot at different periods, involving a moment of montages.</span></div><div style="font-family: Verdana,sans-serif;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8N0vAxomHieOdmENPvoeDOCNkthCMOHra5K0SokpvgZQ9nj3PbZdDdQ3Vo7F_qdZ0CeRq007uSBryidwvolW-XGDHlGkKMuaQGFCXf1XOqP8MMLUQillp7tIA1jWZYJfnqzb-fHB5yoGK/s1600/JohnClang5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8N0vAxomHieOdmENPvoeDOCNkthCMOHra5K0SokpvgZQ9nj3PbZdDdQ3Vo7F_qdZ0CeRq007uSBryidwvolW-XGDHlGkKMuaQGFCXf1XOqP8MMLUQillp7tIA1jWZYJfnqzb-fHB5yoGK/s640/JohnClang5.jpg" width="640" /></a></div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div class="MsoNormal" style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif"; line-height: 115%;">Artist's Statement...</span></span></div><div class="MsoNormal" style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif"; line-height: 115%;"> The mundane and the commonplace attract me - I always profess an affinity for subject matters closely related to my daily life. I often dwell upon urban and contemporary themes and landscapes; be it the city or its inhabitants. Intrigued by subtle changes in my environment, I find a corresponding shift in my feelings and thoughts. Hence, my images are a poetic reflection of myself in response to the nuanced changes in my environment.<br />
In series like Silhouette/Urban Intervention (Black Tape), Strangers, Time, Out of Context, Beijing/NYC, Remembering Strangers, My Twilight Window and Self-reflection, I grapple with issues of estrangement and intimacy in an urban space; the displacement of familiar urban objects, views and perspectives; as well as our sense of identity and place in this world.<br />
The deeply personal also occupies my work, specifically the themes of memory, identity and longing as a son living overseas for years and separated from my family back home. In series like Erasure and Guilt, I respectively explore the fears when contemplating the death of a loved one, and the guilt of disappointing our loved ones. Explorations of identity can also take a turn for the playful and provocative - as evidenced in lighter series like Beon Sleeps and Me and Friends.<br />
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Ultimately, a good photograph is one that brings us face to face with our own existence. It pulls the stranger standing next to us into the intimate radius of our life. It collapses the beauty and strangeness around us into one. It connects. A good photograph does all these.</span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaW005LRZKbcP4Svyc8-Y0yG6_OOTh1b-W6JIY9oMfgtCcEhnap_wxjxnyYIoNKSW4xKLg-J0S-X7VMOsWZOE6g5F6MzgyWR12qn0qQjnZi6-SswP7v0kZHzyKr-cPbOgHFiyE0EtMVACl/s1600/JohnClang4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaW005LRZKbcP4Svyc8-Y0yG6_OOTh1b-W6JIY9oMfgtCcEhnap_wxjxnyYIoNKSW4xKLg-J0S-X7VMOsWZOE6g5F6MzgyWR12qn0qQjnZi6-SswP7v0kZHzyKr-cPbOgHFiyE0EtMVACl/s640/JohnClang4.jpg" width="640" /></a></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><a href="http://www.johnclang.com/" target="_blank">http://www.johnclang.com/ </a></span></div></div>Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-89985944077141807002012-02-11T17:07:00.001+01:002012-02-13T18:06:48.161+01:00►Henrique Oliveira - Breathtaking installations<div dir="ltr" style="text-align: left;" trbidi="on"><div style="text-align: justify;"><span style="font-family: Verdana,sans-serif; font-size: small;"><b style="font-weight: normal;">►Henrique Oliveira</b> currently is based out of Sao Paulo, Brazil. Oliveira creates these wickedly huge "dimensional" wall sculptural/installation pieces out of hundreds of pieces of wood and PVC pipes</span><span style="font-size: small;">.</span></div><div style="text-align: justify;"><br />
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</div><div style="text-align: justify;"><span style="font-size: small;"><a href="http://henriqueoliveira.com/" target="_blank"><span style="font-family: Verdana,sans-serif;">http://henriqueoliveira.com/ </span></a></span></div></div>Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-36836410617682163472012-02-11T16:50:00.001+01:002012-02-13T18:06:16.369+01:00►Christy Rogers - Atmospheric photography<div dir="ltr" style="text-align: left;" trbidi="on"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div class="style12" style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">►Christy grew up in a family of musicians in the small beach town of Kailua, Hawaii on Oahu's windward coast. She is a self-taught photographer, indie-filmmaker, poet and lyricist. She lives and works in Los Angeles, California and Kailua, Hawaii.</span></span></div><div class="style12" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4lP-DHJYl0npb4Sn7GBcjEV-dU5tt_IWnlQWPZtGJcHTAGcWhrWF8enVXfbelvlWqI3ipYj62G6Xp5VTV9oat_5LT0xr8J2c0wbOb-1UoVmkSGwUnxByi51Vdly6yxBW7r9x4vZPoiwLt/s1600/front.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4lP-DHJYl0npb4Sn7GBcjEV-dU5tt_IWnlQWPZtGJcHTAGcWhrWF8enVXfbelvlWqI3ipYj62G6Xp5VTV9oat_5LT0xr8J2c0wbOb-1UoVmkSGwUnxByi51Vdly6yxBW7r9x4vZPoiwLt/s640/front.jpg" width="640" /></a></div><div class="style12" style="text-align: justify;"><br />
</div><div class="style12" style="text-align: justify;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div class="style12" style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">Her work is undeniably contemporary yet also timeless; portions appear to be drawn from the Baroque period, where dynamic movement and overt emotion were at their height. Many have likened her work to the Baroque master Caravaggio, with her emotive dynamism and dramatic use of lighting. Using pronounced chiaroscuro, where light and dark violently contrast, the light in her images appears to alternately engulf the female form or to be on the verge of dwindling to nothing, leaving them alone in the abyss of boundless space. Light isolates her figures, but her use of spotlighting differs from Caravaggio in that it is atmospheric and benevolent; it insulates the figures from the space surrounding them, that empty space which allows light to strike her subjects, not just as transparent dissolvable images of people, but as solid, real, and seemingly impenetrable beings.</span></span></div><div class="style12" style="text-align: justify;"><br />
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</div><div class="style12" style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">Her figures represent something internal and widely experienced. She successfully and intelligently depicts the wordless doubts and dreams that all of humanity is heir to. Beneath the wondrous exterior, at their core, these strange figures are more human than human; their souls are bared and radiant to one and all. </span></span></div><div class="style12" style="text-align: justify;"><br />
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</div><div class="style12" style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";"><a href="http://www.christyrogers.com/" target="_blank">http://www.christyrogers.com/ </a></span></span></div></div>Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-2862213208439285652012-02-11T16:37:00.002+01:002012-02-13T18:05:56.742+01:00►Brian Dettmer - Innovative book sculptures<div dir="ltr" style="text-align: left;" trbidi="on"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">►Dettmer is originally from Chicago. He currently resides in Atlanta, GA.</span></span></div><div></div><div class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">Brian Dettmer is known for his detailed and innovative sculptures with books and other forms of antiquated media. He is currently represented by Kinz + Tillou (New York), Packer Schopf (Chicago), MiTO (Barcelona), Toomey Tourell (San Francisco) and Saltworks (Atlanta). Dettmer’s work has been exhibited Internationally in several galleries, museums and art centers including the Museum of Arts and Design (NY), Museum of Contemporary Art (GA), the International Museum of Surgical Science (IL), Museum Rijswijh (Netherlands), Wellcome Collection (England) the Bellevue Arts Museum (WA), The Kohler Arts Center (WI), and the Illinois State Museums (IL). His work can be found in several public and private collections throughout the U.S, Latin America, Europe, Australia and Asia.</span></span></div><div class="MsoNormal" style="line-height: normal; text-align: justify;"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOdv3JEdWCl3NdAK1Zhyphenhyphenjdbr_p0M2rvcvpZ29f8UGitRucRJ8GVNLd8Ean5rwAB4n_2EmPIurk4HfMC246GbR7FxzslNIlR2le0eZWxjg6BQgcn2ShfKdVExFPC3bpQrCPH8ko6aSXG80q/s1600/2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOdv3JEdWCl3NdAK1Zhyphenhyphenjdbr_p0M2rvcvpZ29f8UGitRucRJ8GVNLd8Ean5rwAB4n_2EmPIurk4HfMC246GbR7FxzslNIlR2le0eZWxjg6BQgcn2ShfKdVExFPC3bpQrCPH8ko6aSXG80q/s640/2.jpg" width="492" /></a></div><div class="MsoNormal" style="line-height: normal; text-align: justify;"><br />
</div><div class="MsoNormal" style="line-height: normal; text-align: justify;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div class="MsoNormal" style="line-height: normal; text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">Dettmer's work has gained International acclaim through internet bloggers, and traditional media. His work has been featured on the CBS Evening News, The New York Times (US), The Los Angeles Times (US), The Guardian (UK), The Telegraph (UK) Chicago Tribune (US), The Age (AU), Art News, Modern Painters, Wired, The Village Voice, Harper’s, Esquire and National Public Radio among others.</span></span></div><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif"; line-height: 115%;">In recent years Dettmer has established himself as one of the leading International contemporary artists working with the book today. In 2011 his work was featured on the cover of <i>Book Art</i> (Gestalten Publishers, Berlin) and discussed in a historical context in <i>Bookwork</i> (Stewart, The University of Chicago Press). In 2012 he is scheduled to have solo shows in San Francisco with Toomey Tourell Fine Art and The Jewish Community Center; in Maribor, Slovenia as part of its celebration as the European Cultural Capital of 2012; in Lucca, Italy for Cartasia, a biennale of contemporary paper art; and in Atlanta, GA at the Museum of Contemporary Art of Georgia. His work is also scheduled to be in several group shows including “40 under 40” at the Renwick Gallery of the Smithsonian Institute.</span></span><br />
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<div class="MsoNormal" style="line-height: normal; text-align: justify;"><a href="http://briandettmer.com/" target="_blank"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">http://briandettmer.com/</span></span></a></div><div class="MsoNormal" style="line-height: normal; text-align: justify;"><br />
</div></div>Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-89283897119463301162012-02-11T16:13:00.001+01:002012-02-13T18:05:28.731+01:00►Ran Hwang - Untouchable essence<div dir="ltr" style="text-align: left;" trbidi="on"><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">►Ran Hwang is a Korean-born artist who has shown her work in galleries all across the world.</span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div class="MsoNormal" style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif"; line-height: 115%;">Artist's Statement…</span></span></div><div></div><div class="MsoNormal" style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif"; line-height: 115%;">I create large icons such as a Buddha or a traditional vase, using materials from the fashion industry. The process of building large installations are time consuming and repetitive and it requires manual effort which provides a form of self-meditation. I hammer thousands of pins into a wall like a monk who, facing the wall, practices Zen. My works are divided into two groups. In the first, pins are used to hold buttons remain free to move and suggest the genetic human tendency to be irresolute. I choose buttons, which are as common and ordinary as human beings. In the second group of works, a massive number of pins connect yards of thread creating a negative space of the presented images, threads suggesting connections between human beings and a communication network between seemingly unlinked human experiences. The filled negative space in the absence of the positive space suggests mortality at the heart of self-recognition.</span></span></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrbr4AAA0eLtWcZHm6jxUVlUwVbliOvInTDoIx8mCRnVmUgOMObdn5f1r2dQfFHpnd52-zMhgyA0WDlmdNrBiYkwRqx-lGMWeQzdf96nCzGx_dDMc7EYag26ayW4nIobMVuoWFJ7ZRo7fO/s1600/ranhwang5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrbr4AAA0eLtWcZHm6jxUVlUwVbliOvInTDoIx8mCRnVmUgOMObdn5f1r2dQfFHpnd52-zMhgyA0WDlmdNrBiYkwRqx-lGMWeQzdf96nCzGx_dDMc7EYag26ayW4nIobMVuoWFJ7ZRo7fO/s640/ranhwang5.jpg" width="640" /></a></div><div class="MsoNormal" style="text-align: justify;"><br />
</div><div style="font-family: Verdana,sans-serif; text-align: justify;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">In recent years, the Korean-born artist Ran Hwang, resident in the U.S. since 1997, has developed two related bodies of work: one composed of moderately scaled 3D collages, the other comprising large wall installations that utilize buttons, pins and thread to evoke a hovering figure of the Buddha. In both modes, between which she alternates freely, Hwang addresses current social issues—particularly “menial” labor and its relation to the glamor trade—as well as timeless spiritual concerns. The overall effect of her work is to ennoble commonplace materials, processes and persons, while simultaneously grounding and authenticating two very different types of grandeur-one pop-cultural, the other divine.</span></span></div><div></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">The box constructions, usually exhibited in groupings of four to eight examples hung in a horizontal row, employ two superimposed planes separated by several inches of space. The surface nearer the viewer often features a cutout silhouette replicating the over-the-shoulder glance of a Helmut Newton model or the chair-perched form of MarilynMonroe. The rear surface bears scraps of paper or fabric—sometimes bright and inviting, and therefore consonant with the figure's pose; sometimes relatively plain and domestic, thus creating a visual counterpoint freighted with latent, socially critical meaning. Even the internally harmonious works, though, imply a thoughtful commentary on the artifice of extreme gender roles and the self-consciousness with which a "desirable" female identity is constructed. The frills and ribbons that lie beneath these sensuous icons remind us that the entire global industry of fashion production-which finds its ultimate expression in the mythic vamp—contributes only a shapely void. The media-venerated model is, in effect, emptiness incarnate, an alluring fetish devoid of genuine selfhood. (For Monroe, this realization attained tragic proportions, contributing in large part to her pill-addled demise.)</span></span></div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM8acQSgw0ncTlQRESnG4zuHbfOaW5HFe8O8wUe9Xc95SWjaXBm1ti9U4TTvjsQnJlmS6GivmeZkIT9NQBRXVsI3z-sZ0S48UsfEUTBcWNB1I3fIxYOh09Wa_BYoyKOyDYfYK8Bxd1PUyN/s1600/ranhwang6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM8acQSgw0ncTlQRESnG4zuHbfOaW5HFe8O8wUe9Xc95SWjaXBm1ti9U4TTvjsQnJlmS6GivmeZkIT9NQBRXVsI3z-sZ0S48UsfEUTBcWNB1I3fIxYOh09Wa_BYoyKOyDYfYK8Bxd1PUyN/s640/ranhwang6.jpg" width="640" /></a></div><div style="text-align: justify;"><br />
</div><div style="font-family: Verdana,sans-serif; text-align: justify;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">The superficial variety-yet fundamental sameness—of this image packaging is conveyed by the works’ serial installation: the accoutrements of glamor change from one box to the next, but the pose itself, the deliberate contortion of the body into an emblem of erotic appeal, remains uniform, in keeping with now nearly universal fashion conventions. The figures, and the beings they represent, are tightly delimited-literally and metaphorically framed by the box edges and suspended in a limbo setting with no reference to anything outside the specialized world of marketable "beauty".</span></span></div><div></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">Only in the pieces backed with domestic, homey materials do we have a reminder of more mundane facts-namely, that fabricated glamor girls often begin as, and remain at heart, simpler and more vulnerable creatures, perhaps closer in nature to the seamstresses who work behind the scenes than to the femmes fatales that camera-ready girls are asked to impersonate. Who can deny the poignancy-and, more darkly, the predatory lust—that arises when a hint of Norma Jean peeks through the ritualized persona of "Marilyn"? It is in the gap between these parallel planes, these disparate universes—the conceptual icon and the workaday material industry-that Hwang's sharpest insights are generated.</span></span></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif"; line-height: 115%;">In this respect, Hwang resembles her German contemporary Regina Frank, who in 1994 meticulously beaded a gown in the window of the New Museum of Contemporary Art in New York while an LED board specified the value of such underpaid labor in various Third World countries where designer clothes are manufactured. Yet Hwang, again like Frank, regards her time-consuming handiwork as more than just a commentary on global inequities. She also experiences it as a meditative discipline conducive to the inner peace espoused by the Buddah.</span></span></div><div style="text-align: justify;"><br />
<span style="font-family: "Verdana","sans-serif"; font-size: 10pt; line-height: 115%;"></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOTQJ14Wa4er_PRYKNmi0I64MfXLrkbsRB7dMxusPidNTRDJ5KJIzqWb6kMvoaUqc3bVUwdFBSNeAmyFW9ca333OuvUsZLiT_-YbTK6UUPx-l0IT0aB48in8_0HtDmedz9F-PHpNFeVNOL/s1600/ranhwang2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOTQJ14Wa4er_PRYKNmi0I64MfXLrkbsRB7dMxusPidNTRDJ5KJIzqWb6kMvoaUqc3bVUwdFBSNeAmyFW9ca333OuvUsZLiT_-YbTK6UUPx-l0IT0aB48in8_0HtDmedz9F-PHpNFeVNOL/s640/ranhwang2.jpg" width="422" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhXicA5W3yqai5jAQimE1bCRcugzT9ywuxh8QjInxkS4qBrsMaIwXEkVNGuGlYS5VrLqWQAEQNPLpcOxNOTi-xV4_pZduN0uZTWcOH87TDtIddLKKA2pqjj6AL3256Ex5tbrIVL38kcilp/s1600/ranhwang3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhXicA5W3yqai5jAQimE1bCRcugzT9ywuxh8QjInxkS4qBrsMaIwXEkVNGuGlYS5VrLqWQAEQNPLpcOxNOTi-xV4_pZduN0uZTWcOH87TDtIddLKKA2pqjj6AL3256Ex5tbrIVL38kcilp/s640/ranhwang3.jpg" width="640" /></a></div><div style="text-align: justify;"><br />
<span style="font-family: "Verdana","sans-serif"; font-size: 10pt; line-height: 115%;"></span></div><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">In the installations, Hwang's customary Buddha figure seldom sits centered and fully visible on the wall. Rather, depending on the site, it may partially overlap a window, evoking the Buddha's dispassionate survey of human activities and his penetration of the individual consciousness. Or it may occupy a corner, recalling the soul's ability to elude all external confinement, to move, even when the body and the daily self are restricted, into realms of infinite freedom. If tethered to a log by multiple threads, the figure seems to strain its bounds and rise transcendent. Though she always presents the famous silhouette as a religious sign, Hwang is not sanctimonious in her treatment of the traditional form. Indeed, in several new works, the Buddha’s head sprouts antlers or is replaced by a Duchampian urinal-tropes that bespeak an easy confidence in this esteemed personage's self-deprecation and adaptability. Humor, apparently, can meld smoothly with conviction, art with spirituality, in a hybrid expression that is at once light and profound.</span></span></div><div></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">There is, then, a teasing, peek-a-boo quality to Hwang's evocations of the Buddha. In some works, the great teacher is a presence, a distinct form in positive space, created from thousands of small items-usually buttons and pins-concentrated to imply a solid mass. Other pieces show only a haunting linear outline. Still others offer a field of tiny elements within which the Buddha is a virtual knockout, a phantom of negative space. Beyond its innate formal intrigue, this technique has a major thematic import. The absence of one who is nevertheless very much there implies that spiritual substance resides in the mind and the heart of the willing perceiver. Every religious devotee, like every lover, knows the paradox of a being who is compellingly present even when materially absent, and whose fleshly manifestation seems only a token of an immeasurably finer, untouchable essence.</span></span></div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1UZ0hWo6iFm273Or6u_c_CAqc__Jn6uL2ZWav4cNk7swQO1Of8WH7s1RgMSXSmeW1AzYj9zWaPGxRpFBAC3_WflDWJUaLp-tlJctREWh7ntomQmTwdOwdDtE-KHDAawuNgu_7XixpVqmc/s1600/ranhwang4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1UZ0hWo6iFm273Or6u_c_CAqc__Jn6uL2ZWav4cNk7swQO1Of8WH7s1RgMSXSmeW1AzYj9zWaPGxRpFBAC3_WflDWJUaLp-tlJctREWh7ntomQmTwdOwdDtE-KHDAawuNgu_7XixpVqmc/s640/ranhwang4.jpg" width="640" /></a></div><div style="text-align: justify;"><br />
</div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;"><a href="http://ranhwang.com/">http://ranhwang.com/</a> </span></div></div>Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-48046377376191605552012-02-11T15:39:00.004+01:002012-02-13T18:05:03.672+01:00►Bill Durgin - Amorphous human body<div dir="ltr" style="text-align: left;" trbidi="on"><div class="biography" style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">►Bill Durgin received his Bachelor of Fine Arts from Tufts University in conjunction with School of the Museum of Fine Arts, Boston in 1995. And in 2000, Bill received his Masters in Fine Arts from California College of Art (CCA) in San Francisco.</span></div><div class="biography" style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">Bill's work has appeared in galleries throughout the country including, most recently, the 2008 SMFA Traveling Scholars exhibition at the Museum of Fine Arts in Boston and a Solo show, Figurations, at Merge Gallery in New York. He has also exhibited at Judy Goldman Fine Arts in Boston, SF Camerawork, jennjoygallery in San Francisco, and Ego Gallery in Barcelona, Spain. In 2006 he was named as a Surface Avant Guardian award winner. His work has also been published in Paper, Corduroy, Elle, New York, Time Out New York, Hayden’s Ferry Review, and Art News, to name a few. </span></div><div class="biography" style="font-family: Verdana,sans-serif;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-3xz54FmqbEEDSbcrQjSGdz5capdqTwlnsmYCON_NxTYiO1J7hLbGF_0SpfoCWWbmbjyf1wOh-CAzSNX8MhuqB79jma8lH5sXc-DlSHVXnC52VO3za8xk908sDwqjkEPJSI7TPawLllcc/s1600/1nudes_04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-3xz54FmqbEEDSbcrQjSGdz5capdqTwlnsmYCON_NxTYiO1J7hLbGF_0SpfoCWWbmbjyf1wOh-CAzSNX8MhuqB79jma8lH5sXc-DlSHVXnC52VO3za8xk908sDwqjkEPJSI7TPawLllcc/s640/1nudes_04.jpg" width="640" /></a></div><div class="biography" style="font-family: Verdana,sans-serif;"><br />
</div><div class="biography" style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Interview by '<a href="http://www.emptykingdom.com/" target="_blank">Empty Kingdom</a>':</span></div><div class="biography" style="font-family: Verdana,sans-serif;"><br />
</div><div class="biography" style="font-family: Verdana,sans-serif;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div style="text-align: justify;"><span style="font-size: small;"><b><span style="font-family: "Verdana","sans-serif";">E.K: On your site you mention that you are trying to portray the human body in an amorphic way, but at the same time in many of your photographs you’ve omitted the most amorphic part of humans, the face, can you explain you focus on the body?</span></b></span></div><div style="text-align: justify;"><br />
</div><div></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">Bill Durgin:</span><span style="font-family: "Verdana","sans-serif";">This work is my attempt to transmogrify the figure, reshaping it into uncanny forms. By contorting the bodies to omit the head I remove the identity of the figure and focus on the body. This is done through body position and camera angle. The contortions serve to reimagine the body, minimizing and exaggerating certain areas, thus creating an anamorphic form. I’m not interested in these works being seen as portraits, I feel when you see the face of the figure you start asking questions about that figures identity, who it is, and why they are there. Without their identity the focus can become the body as a sculptural object, one composed of skin, muscle, fat, and flesh.</span><span style="font-family: "Verdana","sans-serif";"> </span></span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><b><span style="font-family: "Verdana","sans-serif";">E.K: The composition of your ‘figure studies’ and ‘nudes and still lifes’ are all very stark, featuring clean naked bodies, if there a specific idea you’re trying to convey with this? What were you thinking when you decided this would be how you composed these photos?</span></b><span style="font-family: "Verdana","sans-serif";"> </span></span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">Bill Durgin: </span><span style="font-family: "Verdana","sans-serif";">I have a very minimal aesthetic, which is primarily the reason. When making these pictures I wanted the figure to be the focus of the image. I didn’t want to place them on a seamless background, floating devoid of context, like a commercial product. I wanted them to be in a setting, that setting being the studio. This also alludes to removing the identity of of the figure, putting them in a sterile environment, devoid of context, but an environment nonetheless.</span></span></div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4cJv_EWotMvFZAcOcKmFIQrHhVe92sKo9qq4x2ySbUv29am6gDfMhD9lgZwr7YAYHMz_UY9l6-uGFo_fQuHPMKGLOStTLPs-XVYvD6QvyeqrNPyT3XIhEo4ugv9M443uZfovu8hK51id6/s1600/1nudes_04a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4cJv_EWotMvFZAcOcKmFIQrHhVe92sKo9qq4x2ySbUv29am6gDfMhD9lgZwr7YAYHMz_UY9l6-uGFo_fQuHPMKGLOStTLPs-XVYvD6QvyeqrNPyT3XIhEo4ugv9M443uZfovu8hK51id6/s640/1nudes_04a.jpg" width="640" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAq_tKJyP0gflmtTwnDPThYhHkmzE3F-xNrmW_XNiuIan2hwf0xOCr8UUfuK1m-ijQWZM_kKKf8UTOJEBTkOdm7Z829kv5VXgBJkTh554qNNP_Ddgf_tW46q2mGsWi9gVmuLpTMUDKgIUb/s1600/1nudes_04aa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAq_tKJyP0gflmtTwnDPThYhHkmzE3F-xNrmW_XNiuIan2hwf0xOCr8UUfuK1m-ijQWZM_kKKf8UTOJEBTkOdm7Z829kv5VXgBJkTh554qNNP_Ddgf_tW46q2mGsWi9gVmuLpTMUDKgIUb/s640/1nudes_04aa.jpg" width="640" /></a></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;"><b>E.K: Your Figure Studies are very philosophical in their approach to human form, where did you find your inspiration for it?</b></span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div style="font-family: Verdana,sans-serif;"></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">Bill Durgin: The Figure Studies series came from an idea I had for a torso without limbs draped over an object. I had been looking at figuration painters: Francis Bacon and Lucian Freud, also Surrealists like Brancusi and Hans Belmar. I’m fascinated by how these artists portray and present the body. I wanted to see how I could achieve this through photography, but as a photographer you have to work within the body’s limitations, as it’s the actual body that ends up being the subject. I began working with my own body and with a friend who’s a dancer, and the figure studies series began.</span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div style="font-family: Verdana,sans-serif; text-align: justify;"></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;"><b>E.K: How have you seen models take your ideas and change them or add to them through collaboration?</b></span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div style="font-family: Verdana,sans-serif; text-align: justify;"></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">Bill Durgin: All of my work is collaboration with the models. Often my original idea for a pose goes beyond physical limitations, so I work with each individual to see where we can go and what we can do. There are times when what we achieve comes mainly out of my direction but there are also people I’ve worked with understand my aesthetic and are able to show me ways that they can move to achieve a position that works.</span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div style="font-family: Verdana,sans-serif; text-align: justify;"></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;"><b>E.K: What did you study at Tufts for your BFA? What was your MFA in at California College of Art?</b></span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div style="font-family: Verdana,sans-serif; text-align: justify;"></div><div style="text-align: justify;"><span style="font-family: Verdana,sans-serif; font-size: small;">Bill Durgin: Tufts and the School of the Museum of Fine Arts have a program where you take art classes at the Museum school and academics through Tufts. The Museum School is a unique program where they encourage experimentation through crossing genres and mediums. While I was there, I mainly did photography but also took painting, sculpture, drawing, and film classes. At California College of Art I received an MFA in photography. They also encourage experimentation and crossing mediums but you apply to specific departments and those departments are the ones who give you your degree.</span></div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx22bP6z0BqN31yQjB5ZWEoRx8cJX8_vh7L7Jh674Gw-5lBKZNb5_eOQ5nSse_qCboXsj5HHkW4-a4U8vUjDFb0qMrXM97XHShNgASpTQanHFOXaPqHLIxgq1JXDqDjzgeUw8r81wsnAYh/s1600/1nudes_04b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx22bP6z0BqN31yQjB5ZWEoRx8cJX8_vh7L7Jh674Gw-5lBKZNb5_eOQ5nSse_qCboXsj5HHkW4-a4U8vUjDFb0qMrXM97XHShNgASpTQanHFOXaPqHLIxgq1JXDqDjzgeUw8r81wsnAYh/s640/1nudes_04b.jpg" width="640" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXyRYT6BbiODUu8TxkA7IH3Kv2e1GQIQnJvFSmdhIuGQH-6Su_d9t7ILNu5y0xQEyQwa0e8s8gF8Km-fnhHglDDqBIhdH3gYILs3oKRCfOOH2HM1piAr1Zh9oD6xN_f0Cry5iPrpH6r1g7/s1600/1nudes_04c.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXyRYT6BbiODUu8TxkA7IH3Kv2e1GQIQnJvFSmdhIuGQH-6Su_d9t7ILNu5y0xQEyQwa0e8s8gF8Km-fnhHglDDqBIhdH3gYILs3oKRCfOOH2HM1piAr1Zh9oD6xN_f0Cry5iPrpH6r1g7/s640/1nudes_04c.jpg" width="478" /></a></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div style="text-align: justify;"><span style="font-size: small;"><b><span style="font-family: "Verdana","sans-serif";">E.K: How did those two educational experiences differ for you? How did each separate experience contribute to your work as an artist?</span></b></span></div><div style="text-align: justify;"><br />
</div><div></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">Bill Durgin: </span><span style="font-family: "Verdana","sans-serif";">The Museum school allowed me to experiment and play around and realize that nothing had to be. At times I was focused on a specific project and other times I was just experimenting with different mediums and techniques. When I went to graduate school I was really able to focus on a singular body of work. The California College of Art program requires a tremendous amount of one-on-one meetings with faculty and people in and out of your department. This helped me gain many different perspectives on my work and figure out what to take from those perspectives and put towards my own goals.</span></span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><b><span style="font-family: "Verdana","sans-serif";">E.K: How have you seen your work change since you first began? How have you seen the other work in your field change since you began?</span></b></span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">Bill Durgin: </span><span style="font-family: "Verdana","sans-serif";">My work has changed a great deal since I began taking pictures. I continue to evolve and grow as a photographer; otherwise it would get very boring. I’m not interested in taking the same picture over and over, I want to push my boundaries and see where I can go. Photography itself has also changed a great deal since I began. With the advent of digital, more people have become comfortable taking pictures. This allows for many more people showing pictures online, in print and in exhibitions. Right now I think there’s so much photography out there, there will always be people who stick to traditional techniques and visions, and there’s always going to be people experimenting. I think what’s really changed since I began is the growing acceptance of photography as a relevant, interdisciplinary, fine art medium. I am also noticing a lot more nudes which means there is a current interest in the body. For a while nudes were relegated into a sort of sub category of erotic work. Now there are more people using the body in interesting ways.</span></span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><b><span style="font-family: "Verdana","sans-serif";">E.K: What have you done as an artist to challenge yourself and stay relevant in an evolving field?</span></b></span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">Bill Durgin: </span><span style="font-family: "Verdana","sans-serif";">I’m always trying to see where I can go next, and how I can go farther with what I’m doing. As far as staying relevant, I look at a lot of work both contemporary and historical. I find it most important to look at what’s happening in work other than photography. Performance, film, sculpture, painting, installation, fashion, net art, all of these mediums seep into my work.</span></span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><b><span style="font-family: "Verdana","sans-serif";">E.K: Can you remember the first photoshoot you did? Tell us about it, how did it go? What were some challenges, what did you learn?</span></b></span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";">Bill Durgin: </span><span style="font-family: "Verdana","sans-serif";">I can’t really remember the first photo shoot I did but the first photo shoot for the Figure Studies was a self portrait. I wasn’t sure how I was going to be able to work with the figure in this new way and thought there was going to have to be some digital manipulation. As I was contorting to create smooth edges of the body, I realized it was possible to do so using solely contortion and camera perspective. It became much more interesting to have everything done in camera rather than in post-production.</span></span></div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMyOSM_HoHWwE8zUjLecWrCqdHpsKHJhtbiMog2kUodQVAeBim4-laGYRwDqxVOK3l_qbTdvTzYYZkr1c1AcFkJdgviCyyyQQ_AeWB0XksOEFBy9uVuiVXa08-NBuIV8LpVlS-4CJquumB/s1600/Aznudes_09.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMyOSM_HoHWwE8zUjLecWrCqdHpsKHJhtbiMog2kUodQVAeBim4-laGYRwDqxVOK3l_qbTdvTzYYZkr1c1AcFkJdgviCyyyQQ_AeWB0XksOEFBy9uVuiVXa08-NBuIV8LpVlS-4CJquumB/s640/Aznudes_09.jpg" width="640" /></a></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;"><b>E.K: What about ‘nudes and still lifes’, what did you find challenging about that shoot? What have you learned from it?</b></span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">Bill Durgin: The series Nudes and Still Lifes came about while I was doing a series of subtly grotesque food still lifes to put in my food portfolio. I really enjoyed the process of putting them together and wondered how I could bring them into my artwork. I came up with the idea for nudes and still lives, riffing on classical paintings genres. For this series, I would begin with the nude image and then create a still life to pair with it. It became incredibly labor-intensive. Once I shot a nude image that worked I then had to make not only a really good still life but a really good still life that would enhance the nude, while matching tonally and compositionally. For some of them I had to reshoot the still life three or four times. That’s one reason there aren’t many images in the series, and, while I’m really happy with the results, I decided to take a break from it. I still want to continue doing still lifes but they will probably be presented as individual images.</span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div style="text-align: justify;"></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;"><b>E.K: What’s next for you? What ideas do you have that you hope to execute within three years?</b></span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-family: Verdana,sans-serif; font-size: small;">Bill Durgin: Right now I’m midst of working on a series incorporating everyday materials such as boxes and tape with the figures. I’m really enjoying working with these new materials, seeing what I can do with them sculpturally and compositionally. I haven’t put this work on my site as of yet, as I’m still in the process figuring out where it’s going. I have no idea where I’ll be career wise three years from now, but I hope to have a studio of my own by then.</span></div><div style="text-align: justify;"><br />
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</div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: "Verdana","sans-serif";"><a href="http://billdurgin.com/" target="_blank">http://billdurgin.com/ </a> </span></span><span style="font-family: "Verdana","sans-serif"; font-size: 10pt;"></span></div><div style="text-align: justify;"><br />
<span style="font-family: "Verdana","sans-serif"; font-size: 10pt;"></span></div><div class="biography" style="font-family: Verdana,sans-serif;"><span style="font-size: small;"> </span></div></div>Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-11373247594148211982012-02-11T14:31:00.001+01:002012-02-13T18:04:36.103+01:00►Derek Gores - Amazing collages<div dir="ltr" style="text-align: left;" trbidi="on"><div style="font-family: Verdana,sans-serif;"><b><span style="font-size: small;"><b></b><b></b></span></b> </div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">►Derek Gores, born 1971, New York. Derek has gained national attention for his collage portrait series, recycling magazines, labels, and found materials to create the works on canvas. The series showcases Gores' contrasting interests in the natural beauty of the figure, the angular design aesthetics of fashion (and machinery), and a fearless sense of play. </span></div><div></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">A successful commercial designer and illustrator for 15 years, clients include ESPN, Lenny Kravitz, Lucasfilm, Kings of Leon, U2, NASCAR, Adidas, Madonna, Harley Davidson, 321 Agency, Van Halen, the National Football League, LiveNation, SEIU, Love Haight Apparel, and JCPenney.</span></div><div style="text-align: justify;"><span style="font-family: Verdana,sans-serif; font-size: small;">Derek lives and works in Melbourne, Florida, surrounded by the intellect and culture of the Space Coast.</span></div><div style="text-align: justify;"></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Cf1moJPwxBw?feature=player_embedded' frameborder='0'></iframe></div><div style="text-align: justify;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXHkQ2QPE2pHzunJr4vTwExb5KQwD2enDwqV_fT-m9V3a9-dobQ-TU4RMDwF48B-rhL-_FAzoJhoWCz9mnrswcuOZ8ze7fNkVPzBoaeVpHfOc75DC4yZiC5_9R4TPL_JI01Q236s4PA-L4/s1600/Derek_Gores_collage_21.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXHkQ2QPE2pHzunJr4vTwExb5KQwD2enDwqV_fT-m9V3a9-dobQ-TU4RMDwF48B-rhL-_FAzoJhoWCz9mnrswcuOZ8ze7fNkVPzBoaeVpHfOc75DC4yZiC5_9R4TPL_JI01Q236s4PA-L4/s640/Derek_Gores_collage_21.jpg" width="610" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiGvySZzAALmFuDpdv7poUD5pD4xR3nr_ZUEJdbAt7C2KtfN3NgO_2FVs2ve_bjUJb0SiqltKH6fOt-WHDh9py5Fnxy7oxDQVqG9Ma-jpwxS_gEUt52G1yNPODceqXqVIPP89AfOxETPN3/s1600/Derek_Gores_collage_07.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiGvySZzAALmFuDpdv7poUD5pD4xR3nr_ZUEJdbAt7C2KtfN3NgO_2FVs2ve_bjUJb0SiqltKH6fOt-WHDh9py5Fnxy7oxDQVqG9Ma-jpwxS_gEUt52G1yNPODceqXqVIPP89AfOxETPN3/s640/Derek_Gores_collage_07.jpg" width="640" /></a></div><div style="text-align: justify;"></div><div style="text-align: justify;"></div><div style="text-align: justify;"><span style="font-family: Verdana,sans-serif; font-size: small;"><a href="http://www.derekgores.com/">http://www.derekgores.com/</a></span></div><div style="text-align: justify;"></div></div>Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-88437358234308900522012-02-11T14:04:00.003+01:002012-02-13T18:04:05.207+01:00►Béla Tarr - The Turin horse<div dir="ltr" style="text-align: left;" trbidi="on"><div style="text-align: justify;"><span style="font-family: Verdana,sans-serif; font-size: small;"><b style="font-weight: normal;">►Béla Tarr</b>'s <b style="font-weight: normal;">The Turin Horse</b> follows the story of a carriage driver's family after the death of Friedrich Nietzsche, and the horse that fatefully/indirectly affected their lives.</span></div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinfKnskITzoHBoEx_BL8zYebYZgHSk3oi99JGCNhimR-HM6PT2Mi48IQtFLBFDENKJHFGcs3UxBJ11F11shOZQ5I9y0pcyEw-HEeQmvsWBw22OScWNe4n-lIZnzg-mVQZuDDbzfgBO5qAO/s1600/p_e_936full-the-turin-horse-poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinfKnskITzoHBoEx_BL8zYebYZgHSk3oi99JGCNhimR-HM6PT2Mi48IQtFLBFDENKJHFGcs3UxBJ11F11shOZQ5I9y0pcyEw-HEeQmvsWBw22OScWNe4n-lIZnzg-mVQZuDDbzfgBO5qAO/s640/p_e_936full-the-turin-horse-poster.jpg" width="448" /></a></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><blockquote style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><i>"In Turin on 3rd January, 1889, Friedrich Nietzsche steps out of the doorway of number six, Via Carlo Albert. Not far from him, the driver of a hansom cab is having trouble with a stubborn horse. Despite all his urging, the horse refuses to move, whereupon the driver loses his patience and takes his whip to it. Nietzsche comes up to the throng and puts an end to the brutal scene, throwing his arms around the horse’s neck, sobbing.</i></span><br />
<span style="font-size: small;"><i>His landlord takes him home, he lies motionless and silent for two days on a divan until he mutters the obligatory last words, and lives for another ten years, silent and demented, cared for by his mother and sisters. We do not know what happened to the horse."</i></span> <br />
<span style="font-size: small;"><i></i></span></blockquote><blockquote style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><i>These are Béla Tarr’s introductory words at the beginning of his film, which picks up the narrative immediately after these events, and is a meticulous description of the life of the driver of the hansom cab, his daughter and the horse. This Hungarian director’s new work bears all the hallmarks of his inimitable style including long takes, black-and-white photography and almost no dialogue.</i></span></blockquote><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5Whc6AL6gVW5TWt3u78jl281GuP24khjgpYBzuO-1YxB57pAfQoPhL28W_xUNm5Zvb2sBl8ZLD_tq5jEIgTNgtQC6wwQneMzeZQIhZQeU42jvx7L4u6HBV12qhUFaAePjeFRlkB3j0LgM/s1600/1_e_TurinHorse-e1315215200735.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5Whc6AL6gVW5TWt3u78jl281GuP24khjgpYBzuO-1YxB57pAfQoPhL28W_xUNm5Zvb2sBl8ZLD_tq5jEIgTNgtQC6wwQneMzeZQIhZQeU42jvx7L4u6HBV12qhUFaAePjeFRlkB3j0LgM/s640/1_e_TurinHorse-e1315215200735.jpg" width="640" /></a></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikG27wtzQzpcVuUjmzRw-_DGHtxMqksjPsX41tqUY63TUzUTBFVkR1m29zYTCH9N2gT-CQPHpTCzGJK3XWZOpqwTqUVESwil5PX9NDTkZzvesub8rzlV51bs0H0TqkAmV5c_09C0sqfoYg/s1600/4_e_Erika_Janos-e1315215327664.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikG27wtzQzpcVuUjmzRw-_DGHtxMqksjPsX41tqUY63TUzUTBFVkR1m29zYTCH9N2gT-CQPHpTCzGJK3XWZOpqwTqUVESwil5PX9NDTkZzvesub8rzlV51bs0H0TqkAmV5c_09C0sqfoYg/s640/4_e_Erika_Janos-e1315215327664.jpg" width="640" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQyJq1M63FAE0cAV2lWEAJb2UBWlyj4z19foRLEYQM6Yn3XN1LSxM-Amo7GuLvDSpyNsFQRIysT6RUgeVrogv0JMSVB3t0Fx9yF6GfAEYalb2jv5id9W94e6zT2A2_zT3xFQ_CLWoSAAID/s1600/5_e_Mihaly_Kormos-e1315215367839.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQyJq1M63FAE0cAV2lWEAJb2UBWlyj4z19foRLEYQM6Yn3XN1LSxM-Amo7GuLvDSpyNsFQRIysT6RUgeVrogv0JMSVB3t0Fx9yF6GfAEYalb2jv5id9W94e6zT2A2_zT3xFQ_CLWoSAAID/s640/5_e_Mihaly_Kormos-e1315215367839.jpg" width="640" /></a></div></div><div style="text-align: justify;"><span style="font-family: Verdana,sans-serif; font-size: small;">Béla Tarr: <a href="http://mubi.com/cast_members/4125">http://mubi.com/cast_members/4125</a> </span></div><div style="text-align: justify;"><span style="font-family: Verdana,sans-serif; font-size: small;">The Turin Horse: <a href="http://mubi.com/films/the-turin-horse" target="_blank">http://mubi.com/films/the-turin-horse </a></span></div><div style="text-align: justify;"><span style="font-family: Verdana,sans-serif; font-size: small;"> </span><span id="more-36255"></span> </div></div>Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0tag:blogger.com,1999:blog-1159396437078725749.post-72535260066156864282012-02-11T13:19:00.001+01:002012-02-13T18:03:33.569+01:00►Vanessa Dakinsky - Anecdotes of everyday life<div dir="ltr" style="text-align: left;" trbidi="on"><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;"><b style="font-weight: normal;">►Vanessa Dakinsky</b> is an artist based out of France. Dakinsky creates interesting oil on canvas paintings that comes straight out of her unique art world.</span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijqIlspvMQDAf1C0LCeKR8zQhLCFB2gizdF8ONDLigv6GcS-vvu5f7Dv20nYw5tmHdH_jZwhyphenhyphenXgdfZ5e9LTmbMKxHBZhNsfgatoAQpW-E7D83ijkx2ytNY_xSfeJR3BxYyilCmjmnkIBGf/s1600/Vanessa-Dakinsky_web1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijqIlspvMQDAf1C0LCeKR8zQhLCFB2gizdF8ONDLigv6GcS-vvu5f7Dv20nYw5tmHdH_jZwhyphenhyphenXgdfZ5e9LTmbMKxHBZhNsfgatoAQpW-E7D83ijkx2ytNY_xSfeJR3BxYyilCmjmnkIBGf/s640/Vanessa-Dakinsky_web1.jpg" width="640" /></a></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;"><span id="more-40839"></span></span></div><div style="text-align: justify;"></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;">"Through painting lens, I explore undefined spaces, mixing realistic elements with dreamy ones. My work comes from combinations, like an echo between anecdotes of everyday life, my obsessive taste for pictures and a more general curiosity for contemporary mythologies and life. Each painting is a living place for contradictory elements. I avoid to simplify or reduce, and prefer opening the enigmae, shady scenes, their reverberations."</span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiT_japTG0_OVq7Xu1m4pjb22WgtsXWZjb9jhZ_B4AmmJorKKvvkRpbC19HIxebJhg5FKI8-1Ea46gAzeH0DSWTJwQ1wKbkT2efsAlGIqpZrixAauqGYeRnwblhqKHtvHcb6i39yx5eEMB/s1600/Vanessa-Dakinsky_web2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiT_japTG0_OVq7Xu1m4pjb22WgtsXWZjb9jhZ_B4AmmJorKKvvkRpbC19HIxebJhg5FKI8-1Ea46gAzeH0DSWTJwQ1wKbkT2efsAlGIqpZrixAauqGYeRnwblhqKHtvHcb6i39yx5eEMB/s640/Vanessa-Dakinsky_web2.jpg" width="474" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdc3laVfk-YseA4IYtHx-6tDJCYn7bTpsQDVCpTeMLvJi4TmRjCZA-UQ7Y0QIF6392CjdmVFawyUeSPMMMvM8NYI7P3h0fbkBK2huIHPabOjElpv6htwQ3WQfld8zFY2uouScZI9y-IpNm/s1600/Vanessa-Dakinsky_web3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdc3laVfk-YseA4IYtHx-6tDJCYn7bTpsQDVCpTeMLvJi4TmRjCZA-UQ7Y0QIF6392CjdmVFawyUeSPMMMvM8NYI7P3h0fbkBK2huIHPabOjElpv6htwQ3WQfld8zFY2uouScZI9y-IpNm/s640/Vanessa-Dakinsky_web3.jpg" width="470" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLiHowA-Kat2lCLLNwrxQdYqn99c4RXLAm-VpFQMrV9T4EJ-0L8OcG2hwVU8bL2SaEzTwZua5ep2u1V9ab4UKYcGK7ZL0xWHhd7jwi6-ZlgL9QdaaO8W_fFGk72CklBiQx24wArGdmnpYH/s1600/Vanessa-Dakinsky_web5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLiHowA-Kat2lCLLNwrxQdYqn99c4RXLAm-VpFQMrV9T4EJ-0L8OcG2hwVU8bL2SaEzTwZua5ep2u1V9ab4UKYcGK7ZL0xWHhd7jwi6-ZlgL9QdaaO8W_fFGk72CklBiQx24wArGdmnpYH/s640/Vanessa-Dakinsky_web5.jpg" width="636" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihyphenhyphenb6-ShWf3c-GMfdsqBR95CIpcxp-bcdzXiYjkq1hp55K7l_kjAMWhEF8esl7VEU4a97HEJLPxPB3agJw_a1rJhjY_la58iL16cV3FvhhnsNSeIAQsBfX16jh5OFHpQepBLGG0nA5_oXN/s1600/Vanessa-Dakinsky_web7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihyphenhyphenb6-ShWf3c-GMfdsqBR95CIpcxp-bcdzXiYjkq1hp55K7l_kjAMWhEF8esl7VEU4a97HEJLPxPB3agJw_a1rJhjY_la58iL16cV3FvhhnsNSeIAQsBfX16jh5OFHpQepBLGG0nA5_oXN/s640/Vanessa-Dakinsky_web7.jpg" width="452" /></a></div><br />
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</div><div style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;"><a href="http://www.vanessadakinsky.com/" target="_blank"> http://www.vanessadakinsky.com/ </a></span></div><div style="font-family: Verdana,sans-serif; text-align: justify;"><br />
</div></div>Mirjana Milosavljevićhttp://www.blogger.com/profile/11942602011264898071noreply@blogger.com0