Just wanted to share these beautiful fabric pieces from Louise Bourgeois. So gorgeous. What I wouln't do to see these in person.
The Fabric Works, opens this Friday, October 15 and runs through December 18th at Hauser & Wirth in London.
All images courtesy of Hauser & Wirth.
As I mentioned yesterday, I'll be mixing it up and posting a bit differently this week. I'll be sharing posts about things that inspire me and giving old posts a run again, just for kicks. I'll also be posting some new content, but not as much as normally I may kick it into next week, I'm not sure yet. I'll keep you posted. ;)
I figured a good place to start is with Margaret Kilgallen. She is most definitely an all time hero of mine and I don't know too many creative types who haven't been inspired by her in some way. I posted a remixed vid from the Art: 21 series, that somebody uploaded onto youtube. Sadly, everytime I try and watch it on Art: 21's site my browser crashes. Maybe you'll have more luck.
I think what I love most about Margaret's work is how she mixed so many different styles within her work. From folk to graffitti to sign painting to her own original style and on. Margaret was one of the first female artists I learned about who wasn't on the contemporary artist tip (ie: Jenny Holzer, Sofie Calle, Tracey Emin, etc) that had been stepping outside the lines of what was expected. She was a true maverick.
What do you like most about Margaret's work?
All the images you see here are from Margaret's To Friend and Foe show at Dietch back in 1999. All images are from Dietch Projects.
How we perceive ourselves and the world around us is described by the adjectives we use. Whether something is beautiful, ugly, yellow, green, small or tall, we use these words to create meaning in our lives. Meryl Pataky, an artist who works with mostly metals, dear hide and neon lighting, has translated this very philosophy of using words as an expression of her artistic nature. Her work combines certain resources and visual languages that might not often be seen together in a traditional setting.
"My work relies heavily on personal narrative. I tend to base my work on the experiences in my life that shape me into who I am. These experiences are what I relate to most intimately and, in turn, allow me to confidently make the appropriate decisions about my work, its concepts and materials. We are all molds that are filled with different substances. These are a delicate blend of our paths, experiences, beliefs and interactions that form our being. As a result, we are all different casts – we are all made of different material." - Meryl Pataky
In the rainy gloom of Portland, OR, Evan B. Harris finds solace in his beautiful attic studio. Using aged acrylic and oil paints, charcoal pastels, plastic resin and melted wax, he creates images that seem unearthed from the past. His work often refers to his father’s artisan philosophies and inspired by his upbringing in the backwoods of Medford, OR. Evan’s art studio feels as though you stepped into a scene of his paintings. Everything in the place it was made to be, with deep accents of color and a rustic nostalgia.
Not only does Evan's work transcribe beautifully on paper but he also uses his knowledge of carpentry to create sculpture and furniture. Pictured below is a bench made into a sailboat as well as a cupboard and shelf. Unlike many artists these days, Evan’s paintings are beaten, brushed, sanded, polished and then hung. These manipulations create “the appearance that this wasn’t made in the 21st century, but perhaps in the 20th. So, behind every scratch and claw mark is a story waiting to be told.” - E. B. Harris
The secret to clean lines and the amazing textures you see in Evan's painting is his super old ink and acrylic paints.
Some of my favorites Evan B. Harris paintings from the past. To see more check out his Flickr.
Recent Comments