 |
|
|
 |
 |
 |
 |
 |
 |
 |
 |
 |
|
 |
 |
 |
 |
 |
 |
 |
 |
|
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
|
 |
 |
 |
 |
 |
 |
 |
 |
It's not the principles that kill you in the end, it's the books. - Michael Swanwick, The Iron Dragon's Daughter
What we cannot speak about we must pass over in silence. - Wittgenstein
Never express yourself more clearly than you think. - Niels Bohr
A labyrinthian man never looks for the truth, but only for his Ariadne. - Nietzsche
What else do you do with dark and sinister forces but play with them? - Deadlock, Khronicles of Khaos
There are three things that are real: God, human folly, and laughter. Since the first two pass our comprehension, we must do what we can with the third. - Valmiki, the Ramayana
If you want to tell the untold stories, if you want to give voice to the voiceless, you've got to find a language. Which goes for film as well as prose, for documentary as well as autobiography. Use the wrong language and you're dumb and blind. - Salman Rushdie
Even the oldest stories are new to somebody. - Neil Gaiman, The Kindly Ones
Perhaps Kafka laughed when he told stories... because one isn't always equal to oneself. - Primo Levi
When you set out for Ithaca, ask that your way be long. - Constantine Cavafy
"You can't do that", she said. "You can't have 'fairy tales' without 'fair'! And stuff you find out by determining what words are inside other words is never wrong. Now drink more tea." - Hitherby Dragons |
|
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
|
 |
 |
 |
 |
 |
 |
 |
 |
|
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
|
 |
 |
 |
 |
 |
 |
 |
 |
|
 |
 |
 |
 |
 |
|
 |






 |
|
 |
 |
 |
 |
|
 |
 |
Since I've added quite a few friends since the last time I did this - I keep another blog at Eithin, in which I talk about art & design, and post things I've done or been working on. (I do printmaking, painting, drawing, calligraphy, some photography, and basically some of anything else that catches my eye. There's a gallery here, which I update from time to time with what I think are the keepers.) I do sell originals or prints, and will usually be happy to take on custom orders or specific projects if anyone's interested. The digital versions are CC:BY licensed (unless I've given a photo credit, as here) so they're free to reuse, modify, and generally muck around with so long as you link back to my original. There's an LJ feed at eithinarts, too. Have a work-in-progress picture, too. (Flickr link - the original post is here.) It's an attempt to represent the firework dragon Gandalf summons at Bilbo's birthday party, as it might appear if The Fellowship of the Ring were a mediaeval illuminated manuscript. (Incidentally, Pauline Baynes got her start on illustration with some reinterpretations of manuscript marginalia.)  It's currently sitting on my workboard with the first colour coat - red, naturally - drying. Tags: art, eithin, lotr, printmaking
|
 |
 |
 |
 |
|
 |
 |




 |
|
 |
 |
 |
 |
|
 |
 |
It's International Blog Against Racism Week, so here's a brain dump for you. First - I posted about this on Eithin the other day, but it's worth mentioning here - the blog Skin Coloured is "intended to be a collaborative, visual exploration of what it is to be non-white in a white culture." I'm white myself (dark skinned, but unmistakably white), but this issue fascinates me. Racism, art & design, and usability issues all rolled into one. They're looking for more pictures with examples, so please do drop them a line if you have any. Second - London is plastered with advertisements for Spamalot, the Monty Python musical, and this particular crop proclaim that Sanjeev Bhaskar is Arthur, King of the Britons. Apart from a Kitchener reference in the design, the advertisements make no mention at all of the fact that this nigh-stereotypical Englishman (technically he was Welsh, but try telling that to the English who idolize him) is being portrayed by an unmistakably subcontinental actor. It's rather nice to see, and what's even nicer is that (as far as my Google-fu can tell) nobody is complaining about it. Third - I've posted before about doing body art, but something I've never mentioned in the past is that all the models I've used for this have been white. It's always annoyed me, but it's hard to talk about most of the time because you end up coming off like the creepy guy who's desperate for a Hot Asian Girlfriend. I know why they're all white, of course - it's because they were all friends, and most of my social life is via geek-dom. And geek-dom isn't just whitebread, it's practically Tesco Value white bread. The bi and poly social groups are better, but not much better. Tags: art, racism, signal amp
|
 |
 |
 |
 |
|
 |
 |

 |
|
 |
 |
 |
 |
|
 |
 |
Jonathon Jones writes on Banksy in the Guardian, and totally misses the point. Probably the rise of Banksy means that moment is coming to an end; people care more about other things. He is a background artist, as in background music: like all graffiti, his is essentially an accompaniment to other activities. Chunky sprayed-letter graffiti is a background to skateboarding. Banksy is a background to hating New Labour. The reason to admire Damien Hirst is that he makes art as if art mattered. In Banksy, the philistines are getting their revenge.
Background artist? Nonsense. What Jones is missing is that Banksy's work isn't about paint on walls, it's about the walls. It's not portable art, it plays with its context. Subversive, if you really want buzzwords. So yes, if you only look at the designs themselves, if you only look at a particular graffito, it's not particularly interesting or profound. The same goes for most modern art, without its historical and stylistic context. This just has something more concrete to react against. It's all about colonizing public space (where, of course, "public" is used in the same sense as "the public interest", ie. something quite different from "us"), repurposing it, validating individual experience. I suspect that part of J.J.'s problem with Banksy is that as an established critic, he's firmly entrenched in the Public rather than the masses, and wants to react to art as Art, rather than letting art grab his sense of social space and tango with it across the city. Tags: art Current Location: Walthamstow Current Music: Waltzing Freda
|
 |
 |
 |
 |
|
 |
 |

 |
|
 |
 |
 |
 |
|
 |
 |
Here's the full-size version of my new icon. I was inspired by a visit to the William Morris gallery - currently under threat from the council - and by reading Morris's Some hints on Pattern-Designing. One of the things I've always had trouble with is working with multiple colours in one piece, and there's a passage in there that gave me one of those Aha moments. Now, to speak broadly, the first of these methods of relief is used by those who are chiefly thinking about form, the second by those whose minds are most set on colour; and you will easily see, if you come to think of it, how widely different the two methods are. Those who have been used to the first method of dark upon light, or light upon dark, often get confused and troubled when they have to deal with many colours, and wonder why it is that, in spite of all their attempts at refinement of colour, their designs still look wrong. The fact is, that when you have many colours, when you are making up your design by contrast of hues and variety of shades, you must use the bounding line to some extent, if not through and through.
The design itself is the result of messing around with diagonals - it's built on a 3x3 grid of rectangles, and elaborated from there. I knew I wanted silverwork in the triangular sections, but that wouldn't work in itself as a bounding line, so I added in black bounding lines for that, and made the border more solid than I had originally intended. keira_online commented that it looked like a stained-glass window, which wasn't what I'd been thinking when I did it, but seems accurate. Part of that, of course, is because I decided to spoil myself and use French ultramarine. I hadn't worked with oils for years, and I have no idea why not after that - the feeling is wonderful. I still need to varnish it, to bring out the depth and brilliancy of the other colours (the black, purple, and silver are acrylic), but doing that always feels so definite. Tags: art
|
 |
 |
 |
 |
|
 |
 |



 |
|
 |
 |
 |
 |
|
 |
 |
Jonathan Jones on Mark Rothko's Seagram murals in the Tate Modern. http://www.guardian.co.uk/arts/critic/feature/0,1169,931796,00.htmlRothko's not by any stretch of the imagination an easy artist to grok or to think about. Basically, he painted large brooding colour fields. This article, though, says a lot about the way he thought, and why he went back on his commission to provide "600 square feet of paintings for the most exclusive room in the new Four Seasons restaurant at the Seagram Building in New York - the most prestigious public commission that had ever been awarded to an abstract expressionist painter, a tremendously lucrative and enviable chance to take his work to new heights of ambition." ( lots more )Tags: art, rambling, subversion Current Music: Moulin Rouge - Sparkling Diamonds
|
 |
 |
 |
 |
|
 |
 |
|
 |