donderdag, maart 31, 2016
Ekblad’s painting studio is located on a peninsula just outside of Oslo, where she can make the most of Norway’s short summers. “One day this summer I had to figure out some titles, so I went down here with some books and sat in a bikini and wrote. Then I swam, and it felt so luxurious. This is the best studio ever.”
Among Ekblad’s methods for making bold lines: “I use silk stockings or women’s nylon stockings. I put this very dense paint which is just pigment into the stocking, and I draw with it. It’s almost like marker line, but it’s still faulty and strange.”
“I’ve been working with shopping carts for a long time in different ways,” says Ekblad. In the past, she used them to transport found objects for her sculptures. “Then I saw them in every art school. In art institutions, they have a life of their own outside of the supermarket.” They became sculptures themselves in her National Museum show, where she developed her “track” technique – pushing the painted wheels around on canvas to create prints. “I was like, this is a perfect line.“
Ekblad’s work is influenced by her poetry, though she tends to incorporate it indirectly in her shows. The words she carves into wheels for her track paintings overlap and fragment. “It all becomes chaotic.”
“I work as much with sculpture as with painting, but because this is such an amazing painting space, I’ve been wanting to just paint for a little while. There’s almost never direct sunlight. You get a really flush, beautiful light. It’s such bliss to come here, and be in this room, and experiment. Then after time, I really need to work with sculpture again. It’s an urge.”
An upper level in the studio helps Ekblad gain perspective. “I think you always need to get a distance from what you’re working on and see with fresh eyes. So I go up there quite a lot.”
One look at Ida Ekblad’s studio and you might wonder how the Norwegian artist manages to do any work in this beautiful seaside spot near Oslo. We’d worry about getting distracted, or worse, growing complacent. But it hasn’t taken the edge off of Ekblad’s output. If anything, having such a large, light-filled space has allowed her to “experiment on a huge scale” with her process and materials.
...." (bron: Sight Unseen)
woensdag, maart 30, 2016
Fiona Rae, London.
Gavin Turk, London.
Grayson Perry, London.
Laure Provost, London.
"I met Anthony Lycett when I was interviewing 92-year-old RA painter Anthony Eyton in his Brixton studio; Lycett was there at the same time photographing him. We got chatting and Lycett, a tall, gregarious fellow, filled me in on his his project – Private View – an intriguing long-term exploration of London- and Paris-based creatives framed within the backdrops of their inner sanctums: their studios. Where Lycett’s approach differs to the run-of-the-mill artists-in-their-studios portraits is in the method he uses: taking multiple shots of the subject and the space they occupy, Lycett creates a type of photographic composition that’s reminiscent in its conception to the photographic collages (or ‘joiners’) popularised by David Hockney back in the 80s.
Obviously, Hockney didn’t have access to Photoshop back then. But now, with the technical benefits the digital era allows, Lycett is able to seamlessly piece together his own digital version of the photographic collage, creating deep, wide-angled images that allow a viewer to become immediately ensconced in the artist’s personal space; the studios and assorted paraphernalia (whether cluttered or minimal, depending on the individual artist’s working practices) are discovered in the same way as your eye would take in the surroundings, leading you around the mental workings of the artists in an immediate, visceral way, as your vision flits back and forth around the picture, curious about what it will encounter next.
...." (bron: Saatchi Gallery Magazine, foto's: Anthony Lycett)
Meer foto's uit de serie zijn te vinden bij de bron en op de website van Anthony Lycett (hk).
> Fiona Rae
> Gavin Turk
> Laure Provost
UAL Postgraduate students have a Q&A with Grayson Perry in his studio. (bron: University of the Arts London)
T/m 5 juni is werk van Grayson Perry te zien op de solotentoonstelling "Hold Your Beliefs Lightly" in het Bonnefanten Museum in Maastricht. Aanrader (hk).
woensdag, maart 23, 2016
dinsdag, maart 22, 2016
maandag, maart 21, 2016
Yinka Shonibare in his London studio.
"Less than a decade ago, when Yinka Shonibare RA bought his studio fronting on to the Regent’s Canal in east London, the neighbourhood was still, in his words, “distinctly rough at the edges and slightly scary”. Now this area of Hackney is alive with artisan cafés and the whizz-ding sound of expensive bicycles speeding along the regenerated towpath. Shonibare is at the epicentre of urban gentrification. Elegant in sharp blue suit, he presumably set the trend rather than followed? He chuckles gently at the idea. “As if. This was always an area with a lot of studios and a lot of artists, still affordable back in 2008.” The building used to be a carpet warehouse.
Shonibare opened up the roof space, had the partition walls pulled down, sand-blasted the wood floor and instructed his architect to “renovate it so that it is still like a warehouse and feels as if nothing has been done”. Exposed brick, whitewash and a big skylight achieve exactly that. The first-floor space, airy and well ordered, is where he develops most of his projects, and where his team of three work. “And it’s where I meet with sculptors, costumiers, photographers, printmakers – the people I collaborate with.”
He draws and makes other work on paper either here, or at his studio at home in Bow. His series of prints about twins are displayed on the wall.
...." (bron: The Royal Academy of Arts)
> Yinka Shonibare