| 20040727 | 3 I'S WITHPUT A DOT, 2005, GLASS, PIGMENTS |
| 20040726 | 1ST ABSTRACT PAINTING TO SPAN (SLIGHTLY MORE THAN) THE UNIVERSE, 2012, |
| 20040725 | |
| 20040918 | ART FOR ANY NUMBER OF MATCHBOXES, 2009, MATCHBOXES, ART |
| 20041016 | ONE DAY, THERE WILL BE BLOOD ON MY HANDS |
| 20041015 | ARTIST'S GROANS, 2010, 45 RPM VINYL RECORD |
| 20040906 | ONE DAY, TALKING WILL KNOW WHAT I AM ABOUT, I |
| 20040907 | A VERY BAD PICTURE OF A VERY BAD INSTALLATION IN A VERY BAD MUSEUM IN A VERY BAD CITY |
| 20040908 | ONE DAY, I WILL SHAKE ONE SHAKE TOO MANY |
| 20040909 | AUTOMATIC PAINTING, 2009, WHITE CUBE, BLOWFLIES |
| 20040910 | ONE DAY, MY FEET WILL KILL ME |
| 20040911 | ONE DAY, I WILL BE WE AND WE WILL SAY ALL |
| 20040912 | SMALL TREMOR, 2010, WHITE CUBE, SMALL TREMOR |
| 20040914 | ONE DAY, MOTILITY WILL BE THE ONLY WAY TO GO |
| 20040915 | ONE DAY, I YOU WILL GIVE ME WHAT I DESERVE |
| 20040916 | ONE DAY, YOU WILL WORK AND SUFFER
ONE DAY, I WILL PLAY AND RELAX |
| 20040917 | ABSTRACT PAINTING WITH FIFTY WORMHOLES, 2005, PAINTING, WORMS (ARTIS CRITICUS SARCASMUS) |
| 20040919 | STORIES FROM THE PIT, 2010, 30FT HOLE, SPEAKER |
| 20040920 | WHITE CUBE, 2010, PLASTER OF PARIS, ACRYLICS, SOUND |
| 20040921 | ROOTED IN ANGUISH
FUELED BY FEAR
RULED FROM FAR
FAMILY JAR |
| 20040922 | SERIOUS MODEL FOR A WHITE CUBE, 2010, PLASTERED PLYWOOD, STEEL |
| 20040923 | LARGE MONOCHROME INSTALLATION PIECE, 2010, PLYWOOD, PLASTER, ACRYLICS, PINE |
| 20040924 | A LARGE ATTACK OF NOTHING |
| 20040925 | EXPLAINING ART IS LIKE SPEAKING TO A DYING MAN, 2010, CONTROLLED RANDOMNESS, SOUND |
| 20040926 | DESPAIRING ARTIST, 2010, ARTIST, DESPAIR |
| 20040928 | ONE DAY, I WILL TREAT MY SUBJECTS BADLY |
| 20040929 | TWO BAGS OF CEMENT LEFT BY WORKERS BUT MISTAKENLY TAKEN FOR ART, 2010, BAGS, CEMENT |
| 20041017 | WHY WAS CUBISM SUCH A BIG DEAL?, 2010, HOT AIR BALLOON |
| 20041014 | PROJECT GROUP, 2010, APPLICATION PROGRAM |
| 20040930 | ONE DAY, I WILL USE MY ARROW KEYS TO FLY AWAY |
| 20041007 | MONDRIAN APPROACHED BY A GIANT, 2010, MONDRIAN, ACTION, SOUND |
| 20041008 | SHAVING IN THE DARK, 2010, SOUND PIECE (TO BE VIEWED IN A BLINDED ROOM) |
| 20041011 | ONE DAY, THE MAN WHO DIED LAUGHING WILL LAUGH DYING |
| 20041013 | ONE DAY, MY LINE WILL BE MY LAST |
| 20041003 | BURPING AND FARTING PAINTING, 2010, PAINTING, SOUND, ANIMATION |
| 20040728 | END GAME, 2020, DEAD RAT, WALL SOCKETS, COPPER WIRING, COTTON
|
| 20040730 | PERFORMANCE FOR A DEAD ARTIST, 2015, INTERNET CONNECTION, ACTOR,
PIGMENTED GLYCERINE, PAINTINGS, LAPTOP
|
| 20040731 | ONE DAY, MY
SUBJECT MATTER WILL BURST YOUR BUBBLE
|
| 20040801 | TWO LITTLE LIGHTS, 2009, LIGHT BULBS, FIXTURES, WIRING
|
| 20040802 | STARMAP, 2009, VIDEO PROJECTION, PLASTIC SHEET, SMALL SAILBOAT,
POLYSTERENE SCULPTURE (HOLDING THE TILLER)
|
| 20040804 | 5 SLICK FIGURES, 2007, REASONFORCED PLASTYSCENE (ONE OUT)
|
| 20040807 | THE LAST THING YOU LOSE IS YOUR SHADOW, 2011, BITS AND PIECES, MAGICALLY
AIRED (1984 IBM PC/AT)
|
| 20040808 | JUST WHEN THEY LEAST EXPECT IT
SHOW YOUR BUM
|
| 20040809 | ONE DAY,I
WILL EAT A HORSE
|
| 20040810 | SLEEP-IN AT SLEEPLESS CITY, 2009, FUNNY CIGARETTES, $30.000 CARPET
|
| 20040811 | HOEHERE MAECHTE BEFAHLEN
RECHTER OBERECKE WEISS
MAHLEN
|
| 20040813 | ONE DAY, I
WILL WANT TO HAVE A SMALL ACCIDENT
|
| 20040814 | I THINK
WE SHOULD STAY SILENT, IF WE DON'T, WE MIGHT SAY SOMETHING
|
| 20040815 | IN SEARCH OF THE RIDICULOUS, 2025, SMALL BOAT (VERY), BIG SEA (VERILY)
|
| 20040816 | IF IT'S BIG
IT SHOULD MEAN SOMETHING
|
| 20040817 | ONE DAY, I
WILL MY GROW EARS
|
| 20040818 | 3 SCREWED CORKS, 2010, 3 CORKSCREWS, 3 SCREWED CORKS, 3 BOTTLES, CORKS
SCREWED
|
| 20040825 | LEDGE, 2008, PLASTER OF PARIS, ACRYLICS, 4" X 12" X 48"
|
| 20040826 | ONE DAY, I
WILL DRAW A MAN WITH NO HEAD
|
| 20040827 | ONE DAY, I
WILL DO AN INTELLIGENT DRAWING INSTEAD OF ONE OF PEOPLES' BRAINS IN JARS
|
| 20040828 | ONE DAY, I
WON'T CARE LESS
|
| 20040830 | PERFORMANCE FOR A SIMPLE LEAD, 2006, SIMPLE LEAD, MAGIC POWER,
|
| 20040831 | STUPID DRAWINGS DON'T DRAW THEMSELVES
THEY NEED MY MASTER HAND
|
| 20040901 | AS MANY KEYS AS I CAN MANAGE TO HIT (ON A GOOD DAY)
|
| 20040902 | CONCEPT ART
POST MODERNISM
SURREALISM
UNHEIMISCHE (DAS)
|
| 20040905 | ONE DAY, I TURN WILL EYE BLIND
|
| 20040723 | WASTING A FUCKING GOOD BOTTLE OF BOOZE, 2009, GLASS BOTTLE, POLYESTER, PIGMENTS |
| 20040722 | GOING NOWHERE, DOING NOTHING, 2015, (A TREATISE ON ABSTRACTS) |
| 20040719 | SMALL REFUSE, 2010, CIGARETTE ASHES (MARLBORO, CAMEL, WINSTON, VIRGINIA SLIMS), BOOZE STAINS (BARCARDI, JIM BEAM, CROWN ROYAL, MYERS, PILSENER URQUELL, GUINNESS, STEINLAGER, LION) |
| 20040718 | ONE DAY, MY LIFE WILL BE MULTI-DIMENSIONAL |
| 20040716 | ONE DAY, I WILL VANQUISH (MOST OF) MY ENEMIES |
| 20040715 | YOU SHOULD BE PUNISHED YOU ARE A BAD DRAWING |
| 20040714 | ONE DAY, I WILL SAY NOTHING MORE ELOQUENTLY THAN THE OTHER GUY |
| 20040713 | 12 SMOKING GUNS IN A NO SMOKING ZONE, 2009, REAL HANDGUNS, PISTOLS AND SHOOTING IRONS, ARTIFICIAL SMOKE |
| 20040712 | CORNER PIECE, 2008, SOCKETS, PLUGS, WIRING |
| 20041018 | POWER FROM WITHIN, 2010, TRAILING SOCKET, CABLE
|
| 20040711 | ONE DAY, I WILL BE PURPOSELY LATE |
| 20040710 | ONE DAY, MY DRAWINGS WILL PROTECT ME |
| 20040709 | SHEDDING LIGHT ON THINGS, 2009, THINGS, LIGHT |
| 20040708 | THE WORLDS 1ST RSS SCULPTURE, 2014, 2 LAPTOPS, PLYWOOD |
| 20040707 | LOCH NESS, 2020, WALL SOCKET, COPPER WIRING, 60'S TOASTER (DONING NOTHING) |
| 20040706 | 3 DOMESTIC HAZARDS, 2009, COPPER NAILS, INSULATION TAPE, COTTON |
| 20040705 | SOME DAYS I'D JUST AS SOON DRAW WOMENS' SHORT SKIRTS |
| 20040704 | AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAART |
| 20040703 | INTERESTING ROOM, 2011, WIRE, COTTON, MASKING TAPE, ACRYLICS |
| 20040702 | |
| 20040701 | OUTDOOR SCULPTURE, 2010 |
| 20040630 | BORING INSTALLATIONS ALWAYS COME IN PAIRS, 2014, TWO ELECTRIC HOT WATER KATTLES BOILING HOT WATER |
| 20040629 | ONE DAY, I |
| 20040628 | ANY DOMESTIC PERIL MIGHT MAKE GREAT ART, 2008, BUCKET, WATER, POWER SUPPLY |
| 20040627 | -----, 2019 |
| 20040626 | ONE DAY, MY TWO PINTS WON'T MAKE YOUR QUART ANYMORE |
| 20040625 | |
| 20040624 | |
| 20041019 | REPOSITORY, 2010 |
| 20041023 | PROJECT SPACE, 2010, E-PRINT, 70 X 100 INCHES |
| 20041020 | PROPERTIES, FUNCTIONS, CONSTANTS, OPERATORS, OBJECTS |
| 20040623 | ONE DAY, I WILL SEE EVERYTHING |
| 20040622 | TODAY, I WISH I HAD GROWN A LARGE, WILDLY CURLING MOUSTACHE |
| 20040621 | LAND ART CONCEPTUALISM INSTALLATION ART FEMINIST GARBAGE FUCKING BORING ART |
| 20040620 | POINT, 2021, BRASS, 3 INCHES DIAMETER |
| 20040618 | STAGE BLOOD, 2025, JARS, PIGMENTED GLYCERINE |
| 20040617 | 1ST NEVADA TO SCALE THE EVEREST |
| 20040616 | SCIENCE FACT, ART FICTION, 2012, WOOD, STEEL, NYLON, CUSTOM ACRYLIC PAINT, MAGIC |
| 20040615 | THREE-PRONGED DISASTER, 2009, INSTALLATION VIEW, MUHKA 2011, BOTTLE, GLASSES, KILLER ALE |
| 20040613 | ONE DAY, I WILL FEEL JUST HALF A MAN |
| 20040612 | YES, GREAT ART CAN GET THIS SMALL |
| 20040611 | THREE TREES, 2010, FIBREGLASS, POLYESTER RESIN |
| 20040610 | BLOB, 2012, POLYESTER RESIN, PIGMENTS, 12 X 8 X 8 INCHES |
| 20040609 | SOME DAYS, I'D RATHER JUST DRAW WOMENS' BUMS |
| 20040608 | I'M AN ARTIST MY LINES DON'T HAVE TO BE STRAIGHT |
| 20030728 | IF I WAS HAPPIER THEN I MUST BE SADDER NOW |
| 20030719 | (untitled drawing) |
| 20041024 | ONE DAY, IT WILL BE BETTER TO COPY THAN TO BE WITHOUT
|
| 20041025 | PROJECT SPACE, 2010, E-PRINT, 70 X 100 INCHES
|
| 20041026 | MY COMPLETE WORKS.ZIP
|
| 20041028 | PRELIMINARY STUDY FOR A LOAD OF HEADS, 2010, HEADS
|
| 20041029 | FALL, 2010, SEA, BEACH, FALL
|
| 20041114 | ONE DAY, I WILL DO ALL BARNETT NEWMANS PAINTINGS IN ONE SECOND FLAT
|
| 20041115 | BLACK BOX, WHITE CUBE, 2005, WHITE CUBE, BLACK BOX |
| 20041116 | REPOSITORY, 2010 |
| 20041117 | ONE DAY, I WILL WORK THROUGH ROBERT MANGOLD IN LESS THAN ONE SECOND FLAT |
| 20041118 | WHITE CUBE IN DOUBT, 2010, HORIZONTAL, DIAGONAL, INSECURE VERTICAL
|
| 20041119 | ONE DAY, I WILL DO SOMETHING REALLY SMART BUT UNTIL THEN I WILL BE REALLY STUPID |
| 20041127 | THE FALL |
| 20041126 | DAS KUNSTSCHIFF |
| 20041124 | SOMEONE, SOMETIME,SOMEPLACE, 2010, WEBSITE |
| 20041123 | ONE DAY, THE BLOB WILL RETURN |
| 20041129 | ONE DAY, I WILL CLOSE MY OPEN ENDS |
| 20041203 | SHOW, 2010 |
| 20041202 | .... STUDIES FOR AN ABSTRACT PAINTING, 2010, OIL ON CANVAS, 6' X 8' |
| 20041130 | FAMOUS SHORT STORIES, 2010, (DETAIL) |
| 20041204 | YOU WALKED INTO A WHITE CUBE AND WOULDN' T KNOW WHERE THE ART WAS |
| 20041205 | (untitled flash movie) |
| 20041206 | (untitled flash movie) |
| 20041210 | HOEHERE MAECHTE BEFAHLEN RECHTER OBERECKE WEISS MAHLEN |
| 20041209 | 5 INEPT BLOBS, 2025, ACRYLICS, INSTALLATION IN NASA'S ORBITING MUSEUM |
| 20041208 | blobs ink blob |
| 20041207 | 10 PROVISIONAL HEADS, BRONZE, 2025, (ON ISS MUSEUM) |
| 20041211 | ONE DAY, I WILL CLARIFY EVERYTHING |
| 20041216 | 10 TIPS FOR LOOSENING UP |
| 20041217 | INSTALLATION OF PRE-INTERNET WORKS, 2025, (DETAIL) IN SPACEMOMA, MAIN HALL |
| 20041218 | FREETOWN, SIERRA LEONE, MARCH 2010
SCRUB ISLAND, ANGUILLA, CARIBBEAN SEA, JUNE 2012
VANTAGE POINT, EARTH ORBIT, NOVEMBER 2025 |
| 20041220 | ONE DAY, I WILL STOP MAKING ART AND WILL YOU THEN BE SATISFIED |
| 20041221 | ONE DAY, MY TALENT WILL BE TAKEN AWAY |
| 20041222 | ONE DAY, IT WILL ALL END |
| 20041228 | PLAN FOR 13 PIECES ON PEDESTAL, 2010, PLYWOOD, ACRYLICS |
| 20041227 | STUDY FOR AN INSTALLATION ART PIECE, 2010, RED INK, MAP OF RUSSIA, TRAVEL SPEAKERS PLAYING "HERR CHRIST, DER EINIG GOTTES SOHN" |
| 20041226 | STUDY FOR AN INSTALLATION ART PIECE, 2010, ARKANGEL'SK, SIBERIA, JUNE 2010 PECHORA, SIBERIA, AUGUST 2012 AQMOLA, KAZAKSTAN, JULY 2013 QYZYLORDA, KAZAKSTAN, JANUARY 2017 DASHOWUZ, TURKMENISTAN, DECEMBER 2016 TURKMENBASHI, TURKMENISTAN, SEPTEMBER, 2011 BAKU, AZERBAIJAN, FEBRUARY 2015 BAT'UMI, GEORGIA, FEBRUARY, 2011 KIEV, UKRAINE, MAY 2018 CHERNOBYL, UKRAINE, APRIL 2008 ST. PETERSBURG, RUSSIA, JULY, 2009
quicktime movie |
| 20041225 | ONE DAY, I COULD BE BIG |
| 20041224 | YOU CAN'T BREAK UP WHEN YOUR BREAKING DOWN, 2010, ABANDONED STUDIO, BLOBS |
| 20041229 | STUDY FOR A PIECE ON THE GENERATION OF MEANING, 2012, WEB PAGE |
| 20050101 | PLAN FOR A SHOW FOR 5295 PEOPLE, MARVELLING, 2010, WHITE CUBE, PLASTER OF PARIS |
| 20041230 | I WOULDN'T KNOW IF IT IS MY TONGUE IN MY CHEEK OR MY ARSE ON THE LINE. 2010, INSTALLATION PIECE, FOUND OBJECTS, PLASTER OF PARIS, WEB SITE |
| 20050105 | PLAN FOR AN 'AFTER THE PARTY' INSTALLATION PIECE, 2010, POLYMERES, ACRYLICS, FOUND OBJECTS |
| 20050107 | UNTITLED ELECTRICAL SCULPTURE, 2010, 2-WAY TRAILING SOCKET, BEATEN COPPER |
| 20050109 | (untitled drawing) |
| 20050110 | SOME DAY, I SHOULD DO MORE DRAWINGS ABOUT SMOKING |
| 20050111 | UNTITLED ELECTRIC SCULPTURE, 2010, TRAILING SOCKETS |
| 20050118 | STUDY FOR A LARGE BLOB, 2010, FINISHED POLYESTER, VARIABLE DIMENSIONS |
| 20050117 | PLAN FOR A HUGE BLOB, 2010, MODEL OF AMSTERDAM AND ENVIRONS, HUGE BLOB |
| 20050116 | REPOSITORY,2010 |
| 20050115 | UUNTITLED TITLES, 2010, HEADS, TITLES, WHITE CUBE, RED BLOOD
drawing |
| 20050114 | (untitled drawing) |
| 20050122 | THE MEAN END BETTER THAN THE ULTIMATE GAIN, 2010, WHITE CUBE, SOME PLASTERWORK REMOVED |
| 20050121 | STUDY FOR THE MAIN HALL OF THE NZNL.COM MUSEUM, 2010, DUROX, PLASTER OF PARIS, ACRYLIC LATEX |
| 20050120 | TWO SMALL SCULPTURES, 2010, POLYSTERENE, COPPER, ACRYLICS
|
| 20050124 | |
| 20050125 | COURAGE, LOVE, TRUST, HONOUR, FAMILY, TRUTH, CHARITY, LOYALTY, UNITY, PASSION, JOY, KINDNESS, HUMOUR, HOPE, 2010, PIGMENTED POLYESTER RESIN |
| 20050126 | PLAN FOR AN INTERESTING ELECTRICAL INSTALLATION, 2010, LEADS, BOXES, TUBING |
| 20050130 | PLAN FOR AN INSTALLATION INCLUDING SEVERAL DEAD BODIES, 2010, STUFFED COTTON, WHITE CUBE
drawing |
| 20050127 | 8 DUMMY PAINTINGS BY OTHER ARTISTS, 2010, PLASTER OF PARIS, ACRYLICS
drawing |
| 20050131 | WHO NEEDS AUTOMATION WHEN YOU YOURSELF CAN TEDIOUSLY AND PAINSTAKINGLY DRAW ALL THESE THOUSANDS OF LINES AND ALL TO NO END?, 2010, PAIN AND BOREDOM, THOUSANDS OF LINES
drawing |
| 20040607 | NONE OF THESE IDEAS WILL EVER BE FINISHED WORKS |
| 20040604 | BUNGALOW PATTERN, 2009, GALVANTIZED STEEL, 32 X 27 X 16 |
| 20040605 | ONE DAY, I WILL EAT MY BETTER HALF |
| 20040603 | ONE DAY. I WILL FLY FEET FIRST |
| 20040602 | DREAMS ARE FOR BEGINNERS, 2008, COMPUTER, RANDOMIZING SOFTWARE, VIDEO PROJECTOR, BACKLIT SCREEN (TRACKING THE EDGES OF THE WHITE CUBE), 5 70S TAPE DECKS, LOOPS (SEASIDE SOUNDSCAPE W. KIDS LAUGHING) |
| 20040606 | (untitled drawing) |
| 20040601 | ONE MANS FACE CHANGING IRREPAIRABLY OVER TIME |
| 20040531 | THE LAST THREE HAIRS OF THE CRITIC |
| 20040530 | 3 EMPTY CALL-OUTS, 2008, GLASS, EACH 30CM |
| 20040529 | ONE DAY, I WILL DO A DRAWING CALLED REAL DAWDLES |
| 20040528 | FOUR MEN FALLING |
| 20040527 | (untitled drawing) |
| 20040526 | (untitled drawing) |
| 20040525 | ONE DAY, I WILL BRANCH AWAY |
| 20040524 | REAL TEARS, STUDIED WITH SOME PRECISION (STUDIO FLOOR), GLASS, 2009, BITTER LIQUID, ISOMETRIC MESH |
| 20040523 | POINTS OF INTEREST, SLIDE FROM THE SERIES SETTING YOURSELF UP FOR FALLS, 2011, DIGITAL PRESENTATION |
| 20040522 | GENERIC ABSTRACT, 2012, (EXPLODED VIEW) |
| 20040521 | (untitled drawing) |
| 20040520 | 2 ABSTRACT PAINTINGS, 2012, BRONZE, EACH 100 FT. |
| 20040519 | INSET, 2010, MASONRY AND PLASTER (INDENTED ABSTRACT) 80 X 120 INCHES |
| 20050203 | ABSTRACT CANVAS, 2010, ACRYLIC ON CANVAS, 24 X 24
fireworks file |
| 20050202 | MY ART COULD GET EVEN MORE STUPID BY PLANNING AN IMAGINARY LINE FROM FOR EXAMPLE NEW YORK TO TORONTO, 2010, IMAGINARY LINE, WHITE CUBE
drawing |
| 20050201 | MOVE BLUE BALLS PLACE RED BALL ON BLUE BALL AND PRESS THIS TEXT
flash movie |
| 20050129 | (untitled flash movie) |
| 20050128 | (untitled flash movie) |
| 20050204 | 2 WARM LEADS, 2010, LEADS, WARMTH
drawing |
| 20050205 | WHAT ON EARTH ARE YOU DOING?
I AM DESTROYING MY CREDIBILITY AS AN ARTIST!!!
drawing |
| 20050206 | IF NAM JUNE CAN DO TVS I CAN DO NAM JUNE COMPUTERS, 2010, COMPUTERS, STEEL RACK
drawing |
| 20050207 | PLAN FOR A TALK ENTITLED UNDERSTANDING ELECTRICITY, 2010
web page |
| 20050208 | PLAN FOR A SIMPLE CUBICLE, 2010, PLYWOOD, ACRYLIC LATEX
drawing |
| 20050209 | PLAN FOR A SEMI-CLOSED CUBICLE ON A POLISHED FLOOR, 2010, PLYWOOD, LATEX
drawing |
| 20050210 | VIDEO ART, 2010, TV, PLYWOOD, ACRYLICS
drawing
|
| 20050211 | BOOT SEQUENCE, 2010, 1/2 INCH BLACK CHROMED STEEL ROD, DIMENSIONS 10 X 10 X 10 FT.
fireworks file |
| 20050212 | PLAN FOR 2 SPILLS IN THE NEAR FUTURE
drawing
|
| 20050213 | ONE DAY, I WILL BLEED FOR YOU
drawing |
| 20050214 | STUDY FOR A TALK, 2010, MOBILE CD PLAYER, CD
drawing |
| 20050215 | ABSTRACT PAINTING, 2010, FUEL CELL, LEAD
drawing |
| 20050216 | (untitled keynote file converted to jpeg) |
| 20050217 | CREATING ART, DRAWING AND PAINTING, (AND SOMETIMES WRITING), IS MY ULTIMATE CATHARSIS... |
| 20050220 | ONE DAY, I WILL BE YOUR DODO
|
| 20050219 | ONE DAY, I WILL COMMUNICATE WITH EVERYONE AND HAVE THEIR WEALTH FLOW THROUGH
keynote file converted to jpeg |
| 20050218 | LOST IN SPACE
drawing |
| 20040518 | untitled drawing |
| 20040517 | untitled drawing |
| 20040516 | ONE DAY, THIS PILE OF RUBBLE WILL BECOME A MARVELOUS AND SUBLIME WORK OF ART
drawing |
| 20040510 | ONE DAY, I HAD KNEES EVERYWHERE
drawing |
| 20040507 | STOOPID ART, 2005, (LITTLE GO-CART WRITING THE NAMES OF MY HEROES ON THE GALLERY FLOOR) ELECTRONICS, RUBBER WHEELS,
drawing |
| 20040504 | SLOW, 2010, OFFICE CHAIRS, ROBOTICS, ELECTRONICS, CUSTOM SOFTWARE, INTERNET CONNECTION QUERYING GOOGLE (CHAIRS MOVE SLOWLY TRACING FOUND TEXT), VARIABLE SIZE (INSTALLATION VIEW)
drawing |
| 20040503 | CHEW, SWOLLEN, DISAPPEARING, PARASITE, ISOMETRIC, SPLASH, NODE, TONGUE, EDGE, CRAFT, STARK, COPY, COMBINE HARVESTER, SOFTWARE, COAL MINE, HEAD, COLLECT, WET, LUNGS, CRUMB, SPEECH, HAND, DOUBT, VAPORWARE, FIRE, FULL, GRAVE, ANALYSE, FLASH, UPDATE, CANARIES, FARM, UNCERTAINTY, EYELID, HORIZONTAL, FILLS, YOURSELF, CIRCUIT, FALLING, EDGE, COPIES, MONUMENT, SHAPES, FUTURE, NODE, LUNGS, CHIP, SCULPTURE, EXISTING, ADD, PROJECT, FAR, FLASH, SWELL, CANARY, HANDS, UPDATING, IRON, PERSPECTIVE, GRIN, TOOTH,
drawing |
| 20040502 | THEO VAN DOESBURG THEOREM, 2007, INDUSTRIAL STRENGTH LASERS, LEADS, ELECTRONICS, OAK, PINE, BIRCH, SOFTWARE QUERYING GOOGLE FOR THEORIES ON TH. VAN DOESBURG
drawing |
| 20040501 | LITTLE GEMS
drawing |
| 20040430 | ART GALLERY WALK, 2005 - 2010, WORN FLOORBOARDS (AMERICAN OAK) |
| 20040428 | THE END OF THE WORLD AS WE KNOW IT
drawing |
| 20040427 | CRYPTOGRAPHY, 2008, WHEELED WOODEN CASES, ROBOTICS, INTERNET CONNECTION, INVISIBLE INK
drawing |
| 20040426 | (untitled drawing) |
| 20040425 | CUTTING EDGE ART
drawing |
| 20040424 | THE RETURN OF THE GRAF ZEPPELIN TO THE GRAVE OF HINDENBURGH
drawing |
| 20040423 | (untitled drawing) |
| 20040422 | 3 BLOBS IN THE PROCESS OF BECOMING WORKS OF ART, 2010,
drawing |
| 20040421 | (untitled drawing) |
| 20040420 | SIGNALLING MORSE, 2011, ROBOTICS, ELECTRONICS, TABLE, VARIABLE SIZE, INSTALLATION VIEW
drawing |
| 20040419 | (untitled drawing) |
| 20040418 | AT NIGHT, MY OTHER ME GETS UP TO WORK ON MY PROJECTS....
drawing |
| 20040417 | DESKTOP, 2011, CUSTOM ALUMINIUM TABLE, PRINTED STICKIES
drawing |
| 20040416 | FAT HAT
drawing |
| 20040415 | WHITE CUBE, 2010, ALUMINIUM, MILK GLASS
drawing |
| 20040414 | (untitled drawing, ink jet and ink) |
| 20040413 | CONTACT WITH THE DEAD, 2008, HEADPHONES, CUSTOM POWER GRID
drawing |
| 20040412 | INVINCIBLE
drawing |
| 20040411 | (untitled drawing) |
| 20040410 | (untitled drawing) |
| 20040409 | ALL THINGS MUST BE MADE CONCRETE
drawing |
| 20040408 | (untitled drawing) |
| 20040407 | IT ONLY EVER RAINS ON ONE SIDE OF OUR HOUSE
drawing |
| 20040406 | O THE JOYS OF POWER STEERING, 2007, INSTALLATION VIEW |
| 20040405 | A FLASH ANIMATION EMULATING SHRIGLEYS FULL STOP
AND I THOUGHT NET.ART WAS DEAD
drawing |
| 20040404 | (untitled drawing) |
| 20040403 | (untitled drawing) |
| 20040402 | (untitled drawing) |
| 20040401 | (untitled drawing) |
| 20040331 | (untitled drawing) |
| 20040330 | ADDING TO THE NZNL SWEAR COUNT
drawing |
| 20040329 | (untitled drawing) |
| 20040328 | (untitled drawing) |
| 20040327 | (untitled drawing) |
| 20040326 | (untitled drawing) |
| 20040325 | GHOST, DOG, POULTRY, MAN, LIFE JACKET, MOSTLY CLOUDY |
| 20040324 | (untitled drawing) |
| 20040323 | WHAT COULD I DO IF THERE WERE MORE THAN ONE ME?
SLEEP IN
STAB MY NEIGHBOUR
WRECK THE BOSSES ROLLS
BURN
STEAL
PISS IN PUBLIC
STAMP ON ART
drawing |
| 20040322 | (untitled drawing) |
| 20040321 | (untitled drawing) |
| 20040320 | (untitled drawing) |
| 20050221 | PLAN FOR A BODY OF LAND, 2010, SAND, COCOCUTS, PLASTIC TREES
compiled fireworks file
|
| 20050222 | ONE DAY, I WILL SAY THINGS LIKE
php file
|
| 20050223 | GANGBANG, 2009, STYRAFOAM, POLYESTER, ACRYLICS, PASTEBOARD, PHOTOGRAPHS
compiled fireworks file |
| 20050225 | PLAN FOR A BODY OF WORK, 2009
keynote file converted to jpeg |
| 20050224 | CUSTOM POWER, 2011, GENERATOR, LEADS, SOCKETS, PLUGS
keynote file converted to jpeg |
| 20050226 | ANOTHER PLAN FOR A BODY OF WORK, 2008 |
| 20050227 | PLAN FOR A DRAWING ILLUSTRATING THE UNATTAINABILITY OF ENDS, 2009, HYPERLINKS
flash movie |
| 20050228 | PLAN FOR A FUTURE WITHOUT ART, 2008, INSTALLATION (CAR TYRES, LEFTOVER DINNERS, BROKEN GLASS AND EMPTY BOTTLES, VIEWERS, WHITE CUBE)
drawing edited in fireworks
|
| 20050301 | BIG TITLE, SMALL MEANING, 2008, POTTED PLANT, AMBIENT LIGHT
drawing |
| 20050302 | PLAN FOR A DRAWING ILLUSTRATING SUSPENSE, 2009, WHITE CUBE, HYPERLINK, SUSPENSE
drawing |
| 20050303 | PLAN FOR 3 CUBICLES WITH TRAILING SOCKET, 2008, ELECTRICAL LEADS, SOCKETS, PLYWOOD, LATEX
fireworks file |
| 20050304 | NZNL.COM PRODUCTION SITE, 2008, WHITE CUBE, NZNL.COM WORKERS
fireworks file |
| 20050305 | CUSTOM POWER GRID WITH COPPER FOUNTAIN, 2008, PLYWOOD, LATEX, LEADS AND SOCKETS, CUSTOM POWER GENERATOR
fireworks file from googled jpeg |
| 20050306 | ANOTHER PLAN FOR AN AFTER THE PARTY INSTALLATION, 2009
drawing |
| 20050307 | THREE STOLEN PAINTINGS, 2008 |
| 20050309 | ANOTHER STUDY FOR A TALK, 2008, CUSTOM - BUILT PORTABLE CD PLAYER, CD(TALK)
drawing |
| 20050308 | PLAN FOR A SHOW BUT NO PLAN FOR ART, 2008, FLOOR PLAN, NO ART
keynote file converted to jpeg |
| 20050310 | ONE DAY, I WILL WAKE UP OWNING A LARGE BODY OF ABSTRACT PAINTINGS
php file |
| 20050311 | CRIME SCENE, 2008, WHITE CUBE, STAGE BLOOD
drawing |
| 20050314 | IF I WERE TO GO TO PARIS, I MIGHT GO TO SEE THE MONA LISA
fireworks file (with googled image) converted to jpeg
|
| 20050315 | CHARACTER,DOWNS,BUGGER,SICKNESS,TRUTH,SEWER,DEATH,SITE,BANK,COFFEE,EVENING,HEAD,BLOOD
php file |
| 20050313 | MAKING A PILE, 2007, REAL DOLLAR BILLS, AMOUNTING TO ABOUT $3.000.000,-
fireworks file with googled image, converted to jpeg |
| 20050312 | WHEN I PREPARE MY SERMON I FIRST BUILD MY PULPIT, 2008, PLYWOOD, ACRYLICS, ACCESSORIES
drawing |
| 20050316 | IF I WHERE YOUR FUTURE, YOU WOULD BE MY PAST
flash movie embedded in web page |
| 20050317 | IF, I, WERE, A, CHRISTIAN, BLOOD, CATACOMBS, FATE, FAIL, LOVE, HATE, ROME, WOULD, BE
web page |
| 20050319 | ONE DAY, MY ART WILL EAT MY SPECTATORS
drawing |
| 20050320 | THIS WHITE CUBE = NEW WHITE CUBE()
php file |
| 20050321 | NZNL OBJECT GRID
web page, dynamically generated images |
| 20050323 | ONE DAY, I WILL SHOOT MY HERO XXX TIMES
flash movie |
| 20050322 | ARTISTS STUDIO, 2008, STEPLADDERS, LARGE ABSTRACT PAINTING
fireworks file converted to jpeg |
| 20050318 | LATE, 2008, WHITE CUBE, NO SHOW
fireworks file converted to jpeg |
| 20050324 | NZNL.COM IMAGE GENERATOR (DUMMY PRESENTATION MODEL), 2008, PLYWOOD, ACRYLICS, WIRING, WALL SOCKETS
drawing |
| 20050325 | VIDEO ART JUST ISN'T THE SAME WHEN THE LINES GO DOWN, 2008, WHITE CUBE, TV, GENERATOR, CUT POWER LEAD
fireworks file (with googled images) converted to jpeg |
| 20050329 | IF I WERE RICH I WOULD BUY THE IMPORTANT ART I SEE ON TV
flash movie |
| 20050328 | MOST PEOPLE ARE SCARED OF BECOMING SLEEPING PILLS, 2008, TV, PILLS
drawing |
| 20050327 | (untitled drawing) |
| 20050326 | (untitled flash movie) |
| 20050330 | SOME DAYS. THINGS JUST WON'T COME TOGETHER
flash movie |
| 20050402 | IF I WERE A WHITE CUBE WHAT WOULD I HAVE TO SHOW FOR MYSELF
flash movie |
| 20050403 | AMERICAN POWER EUROPEAN POWER ASIAN POWER, 2008, INSTALLATION DETAIL (WALL SOCKETS)
fireworks file coverted to jpeg |
| 20050404 | CHERRY BLOSSOM (OFTEWEL LENTEBLOESEM 1987), 2008, PAINTING, TRAILING SOCKETS
drawing supplemented by googled image |
| 20050405 | PLAN FOR A RANDOM DRIFT, 2008, WHITE CUBE, RANDOM DRIFT
flash movie |
| 20050406 | PLAN FOR AN ANTROPOMORPHIC WHITE CUBE, 2009, FLOOR PLAN, ISOMETRIC PROJECTION
fireworks file |
| 20050401 | IF I WHERE TO MAKE VIDEO ART I WOULD USE PORNOGRAPHIC CONTENT, 2008, TV'S, PORN |
| 20050331 | THE WEEK OF WICKED DRAWINGS (OR AT LEAST NAUGHTY) |
| 20050408 | EVERY MOVEMENT NEEDS A MAG, 2009, DUMMY NZNL.COM MAGS
fireworks file with googled images |
| 20050409 | NZNL.COM TEXTS AND MANIFESTO'S, 2009, ASSORTED TEXTS AND USELESS MANIFESTO'S (PILED, NOT ARCHIVED) |
| 20050410 | MAXIMUM FUN. MORTAL DANGER, MORTAL DANGER, MAXIMUM FUN, 2010, REMOTELY CONTROLLED MACHINE GUNS, STAGE BLOOD
fireworks file with googled images |
| 20050411 | (untitled flash movie) |
| 20040319 | O MY GOD A TALKING SAUSAGE MONUMENT FOR GOOGLE BURNED INTO MEMORY HARDWARE WEBSITE MY NODE FULL OF NOTHING THIS MODERN LIFE CHEESE SHAVING CREAM
drawing |
| 20040318 | (untitled drawing) |
| 20040317 | NZNL SWEAR COUNT
drawing |
| 20040316 | (untitled drawing) |
| 20040315 | (untitled drawing) |
| 20040314 | (untitled drawing) |
| 20040313 | DESPAIRING SRTIST, SMOKING
drawing |
| 20040312 | TITLE DESCRIPTION DUE IN PRIORITY
drawing |
| 20040311 | (untitled drawing) |
| 20040310 | (untitled drawing) |
| 20040309 | WINES OF AUSTRALIA
drawing |
| 20040308 | (untitled drawing) |
| 20040307 | (untitled drawing) |
| 20040306 | (untitled drawing) |
| 20040305 | (untitled drawing) |
| 20040304 | (untitled drawing) |
| 20040303 | (untitled drawing) |
| 20040302 | (untitled drawing) |
| 20040301 | HIS LAST WORK WAS MOST CERTAINLY HIS GREATEST
drawing |
| 20040229 | (untitled drawing) |
| 20040228 | (untitled drawing) |
| 20040227 | SEVERAL UNTITLED GADGETS, 2010, POLYMERS, ELECTRONICS
drawing |
| 20040226 | (untitled drawing) |
| 20040225 | (untitled drawing) |
| 20040224 | (untitled drawing) |
| 20040223 | (untitled drawing) |
| 20040222 | (untitled drawing) |
| 20050413 | (untitled web page) |
| 20050407 | A WHITE CUBE CAN WEAR ANYTHING, 2008, WHITE CUBE, MAGIC LIGHT EFFECTS |
| 20050412 | DEAD PAINTERS EXHIBITION, 2009, PERFORMANCE; BODIES (LIVE), STAGE BLOOD, WHITE CUBE |
| 20040221 | (untitled drawing) |
| 20040220 | (untitled drawing) |
| 20040219 | (untitled drawing) |
| 20040218 | COFFEE AND WINE, 2005, STEEL, CROCKERY, ACRYLICS
I CACHE MY SMILE, 2007
HONEY SPLASH, 2006, ELECTRONIC CIRCUITRY, WATER VAPOUR
A TRUE STORY OF LOVE AND OBSESSION, 2007, PAPER CUPS, PACIFIC SAND, COCONUT HUSK
FRESH BLAST, 2008, TREE TRUNKS
CRIMINAL MINDS BUILD NEGATIVE MONUMENTS, 2010, PILES OF DOCUMENTS
drawing |
| 20040217 | (untitled drawing) |
| 20040216 | ONE DAY YOU WAKE UP TO FIND YOUR BEARD IS GROWING SOMETHING OTHER THAN BEARD
drawing |
| 20040215 | (untitled drawing) |
| 20040214 | YOUR TIME IS NOT YOUR OWN IF YOU CAN'T MUCK AROUND IN IT...
drawing |
| 20040213 | (untitled drawing) |
| 20040212 | (untitled drawing) |
| 20040211 | (untitled drawing) |
| 20040210 | (untitled drawing) |
| 20040209 | (untitled drawing) |
| 20040208 | (untitled drawing) |
| 20040207 | (untitled drawing) |
| 20040206 | (untitled drawing) |
| 20040205 | (untitled drawing) |
| 20040204 | THE INCREDIBLE SHAVING CREAM SCULPTURE, 2010, ROOM FILLED WITH SHAVING CREAM
BERTRANDD RUSSELLS EXAMPLES REVEAL A PERVERTED SEX LIFE, 5005, SOFT TOYS, SHOVELS, MOUNDS OF DIRT
SUSPENSE IS KILLING ME, 2009, 1968 FORD CORTINE, CHECKERED BLANKET, VEGETABLE OIL, CARMINE PIGMENTS
OUT OF THIN AIR, 2006, VACUUM PUMP, HUMAN SKIN, ENTRY POINTS
drawing |
| 20040203 | (untitled drawing) |
| 20040202 | (untitled drawing) |
| 20040201 | (untitled drawing) |
| 20050415 | NZNL.COM PRODUCTION LINE, 2010, NZNL.COM WORKERS, PRODUCTION HALL, MATERIALS AND EQUIPMENT |
| 20050416 | ANOTHER DRIFT, SLIGHTLY LESS RANDOM, 2008, WHITE CUBE, RANDOM DRIFT, SOMEWHAT LESS RANDOM
flash movie |
| 20050417 | IF SEX WERE A FORM OF LOVE THEN WHAT, 2009, PLAN FOR AN INSTALLATION OF VARIOUS AMORPHOUS OBJECTS IN A WHITE CUBE
flash movie |
| 20050418 | PLAN FOR A THESIS ON SEX AND ABSTRACT EXPRESSIONISM (PERFORMANCE FOR THE UNDULY INTERESTED), 2008, NZNL.COM WORKERS, ABSTRACT PAINTINGS, WHITE CUBE
fireworks file |
| 20050419 | SOMEWHERE IN THE NEAR FUTURE, I SHOULD BE TRYING TO COMPOSE AN ARTISTS STATEMENT, 2008, PERFORMANCE FOR DESPAIRING ARTIST, HARD STOOL, OFFICE DESK, WHITE CUBE
php file, word lists |
| 20050420 | EVERY DAY IS META-DAY, 2010, PLAN FOR A PROJECT ON THE THEME OF STORY AND EVENT
keynote file converted to jpeg |
| 20050414 | IF I WERE AN ARTIST I WOULD BE LOOKING FOR SUBJECT MATTER (EVERYWHERE)
drawing |
| 20050421 | PLAN FOR AN INSTALLATION UTILIZING ONE OF PETER HALLEY'S CELL PAINTINGS, 2009, PETER HALLEY PAINTING, OBJECTS
fireworks file converted to jpeg |
| 20050422 | GROUP SHOW, 2008, WHITE CUBE, TALI HINKIS AND KYLE LAPIDUS, PATH, 2003
fireworks file |
| 20050423 | STUDY FOR A PIECE BUT NOT ON BULLFIGHT, 2008, GELATINE, CARMINE, HEAD
fireworks file |
| 20050424 | CLUSTER, 2007, ART, NETWORKING
fireworks file, googled images |
| 20050426 | MODEL OF CAROLEE SCHEEMANS WATER LIGHT/ WATER NEEDLE (ONLY THE NICE PART), 2010, WHITE CUBE, COMPUTER-GENERATED ROPE MAZE
fireworks file |
| 20050427 | ONE DAY, I WILL MERZBAU
fireworks file |
| 20050425 | WHAT TO DO WITH MARC QUINNS SELF AFTER A POWER FAILURE, 2008, BRITART ICON WORK (OR AT LEAST PART OF IT)
fireworks file |
| 20050429 | PLAN FOR A CROSS-SECTION OF THE NZNL.COM GALLERY FLOOR, 2008, FLOORBOARDS, STACKED DRAWINGS
fireworks file |
| 20050430 | ONE DAY, MY ART WILL GENERATE ITSELF
flash movie |
| 20050501 | CROSS-SECTION OF THE NZNL.COM GALLERY (DETAIL) 2008, PLYWOOD, PATTERNED LINO, ACRYLICS, ART
fireworks file |
| 20050428 | PLAN FOR AN EXECUTION OF THE PIECE MERZBAU ON MARCH 3RD 2008 AT THE MUZIEKGEBOUW AAN T IJ, AMSTERDAM
fireworks file |
| 20050502 | PLAN FOR A BIOPIC ON THE HISTORY OF NZNL.COM, 2008
flash movie |
| 20050503 | PLAN FOR A VIEW OF THE NZNL.COM CUBICLE FOR THE 2008 COLOGNE ART FAIR, 2008, PATTERNED LINO, PLYWOOD, ACRYLICS
fireworks file |
| 20050504 | ONE DAY, BULLSHIT WILL BE ART
fireworks file |
| 20050505 | THE DRAWING TO END ALL DRAWINGS IS JUST A DRAWING AFTER ALL, 2008, WHITE CUBE, DRAWING
fireworks file |
| 20050506 | PLAN FOR A WEB PIECE WHEREBY THE OUTPUT IS INFLUENCED BY THE USERS IP NUMBER AND OTHERS LAUGH, 2009, WHITE CUBE, IMAGE MAP
image map |
| 20050507 | ONE DAY,I WILL GO UNDERGROUND
fireworks file |
| 20050508 | PLAN FOR A NZNL.COM BOARD MEETING, 2008, PERFORMANCE FOR 10 NZNL.COM WORKERS
image map, javascript |
| 20050509 | YOU WALKED INTO A WHITE CUBE AND YOU WOULDN'T KNOW WHERE THE ART WAS, 2008, PERFORMANCE
flash movie |
| 20050510 | SUNRISE, 2008, OIL ON CANVAS, BOTH 100 X 141 CM
fireworks file |
| 20050511 | ONE DAY, NAKED LADIES WILL BE EMBOSSED EVERYWHERE
flash movie |
| 20050512 | PLAN FOR A BAD FIRST REHEARSAL, 2008, NZNL.COM ENSEMBLE
flash movie |
| 20050513 | PLAN FOR THE RECONSTRUCTION OF BAS-JAN ADERS -THE BOY WHO FELL OVER THE NIAGARA FALLS-, 2009, PERFORMANCE FOR NZNL.COM WORKER
fireworks file |
| 20050514 | NZNL.COM TAX EXPENSES FOR FRIDAY JUNE 13TH 2008
javascript |
| 20050515 | PLAN FOR A NZNL.COM STOCKS AND BONDS SPACE, 2009, DOWNLOADABLES
image map, pdf file |
| 20050516 | WHAT YOU NEED IS LOVE AND MONEY, 2009, INSTALLATION
image map |
| 20050517 | PLAN FOR A NATIONAL TALKS TOUR, 2009, SERIES OF TALKS ON MULTI-MEDIA BLOGGING BY NZNL.COM WORKER #1
fireworks file |
| 20050518 | ANYTHING IMPORTANT CAN BE SAID IN JUST THREE PARAGRAPHS, 2009, ARTISTS STATEMENT
javascript, css, html, image |
| 20050522 | NZNL.COM SYNONYM DATABASE, 2009, PERFORMANCE FOR THE NZNL.COM 3D SCULPTURING ASSISTANT AND ONE NZNL.COM WORKER
image map |
| 20050523 | MODEL OF NZNL.COM EXHIBITION COMPLEX, 2009 (FLOOR PLAN)
javascript |
| 20050524 | PLAN FOR A NZNL.COM BOARD SITTING TO WORK ON AN NZNL.COM ARTISTS STATEMENT, 2008, PERFORMANCE FOR 10 NZNL.COM WORKERS |
| 20050521 | PLAN FOR A BIOGRAPHY OF NZNL.COM WORKER #1, 2009, INSTALLATION
image map |
| 20050520 | TIMELINE, 2009, PERFORMANCE FOR 5 NZNL.COM WORKERS
image map |
| 20050519 | EVERY CUBE NEEDS MUZAK, 2009, WHITE CUBE, AMBIENT SOUND, USER INDUCED
flash movie |
| 20050525 | MEMORIAL FOR STARVED ARTIST, 2009, PERFORMANCE FOR 13 NZNL.COM WORKERS
image map, javascript |
| 20050526 | ABSTRACT PAINTING, 2008, INSTALLATION
fileworks file, image map, javascript, php |
| 20050528 | PLAN FOR A PORTRAIT OF THE ARTIST AS HYPERLINK (MANIFESTO)
javascript |
| 20050527 | ONE DAY, NZNL.COM ART WILL BE SHOWN IN THE WORLDS MOST IMPORTANT MUSEUMS
fireworks file with googled images
|
| 20050530 | ONE DAY, MY WORDS WILL BE DRAWN TOGETHER |
| 20050529 | PLAN FOR AN ABSTRACT PAINTING, 2009, (EH JIMPUNK, EH, EH)
javascript, php |
| 20050531 | ANOTHER PLAN FOR THE NZNL.COM EXHIBITION HALL, 2009, DYNAMICALLY GENERATED EXHIBITION MODULES (TICKEY-TACKEY)
javascript
|
| 20050601 | PLAN FOR A PAINTING LARGE ENOUGH TO COMPENSATE FOR NZNL.COM WORKER #1 HIS OVERLY DESPERATE STATE, 2009, (AGAIN, TICKY-TACKY)
javascript |
| 20050602 | PLAN FOR A MORE PRIVATE LIFE, 2008, CUBICLE, ELECTRONIC SILENCER
fireworks file |
| 20050604 | PLAN FOR A SET STAGE, 2008, STAGE SET, WHITE CUBE
fireworks file |
| 20050606 | NZNL.COM WORKERS PARADE, 2008, ARRAY OF NZNL.COM WORKERS
php, javascript |
| 20050607 | ANOTHER PLAN FOR AN AFTER THE PARTY INSTALLATION, 2009, WHITE CUBE, LEFTOVERS
javascript |
| 20050608 | PLAN FOR A NARCISTIC HYPERLINK PIECE, 2009
mysql, php |
| 20050603 | PLAN FOR A SHOW OF THE WORLDS MOST STUPID DRAWINGS, 2008, WHITE CUBE, STUPID DRAWINGS
image map
|
| 20050605 | PLAN FOR A DRIP PAINTING, 2009,
php, javascript |
| 20050609 | EDGE, 2009, WHITE CUBE, MORPHED FLOOR
fireworks file |
| 20050610 | ANOTHER STUDY FOR A DRIP PAINTING, 2009, GLYCERINE, CARMINE, ZERO GRAVITY, WHITE CUBE
javascript, fireworks file |
| 20050613 | PLAN FOR A NZNL.COM RESEARCH UNIT, 2009, PERFORMANCE FOR 5 NZNL.COM WORKERS
fireworks file |
| 20050614 | PLAN FOR A NZNL.COM WORD GRID, 2009, PERFORMANCE FOR NZNL.COM WORDS (AND SOME OTHERS)
javascript |
| 20050615 | (untitled flash movie) |
| 20050611 | ABSTRACT PAINTING, 2008, 60 x 60 INCHES, NZNL.COM MUSEUM, BY EXCHANGE. (XXXXXXXXX) © 2008 ESTATE OF NZNL.COM/ARTISTS RIGHTS SOCIETY (ARS), AMSTERDAM. |
| 20050612 | PLAN FOR A FOUR LETTER WORD, 2008, PERFORMANCE FOR 1 NZNL.COM WORKER |
| 20050619 | STUDY FOR FLOORBOARDS, 2009, WHITE CUBE IN RUINS (BUILDING RUINS IS BUILDING TOO)
flash movie |
| 20050618 | INSTALLATION INCLUDING LOUD SOUNDS, 2009, WHITE CUBE, LOUD SOUNDS
flash movie |
| 20050617 | ONE DAY, I SHOULD PROCLAIM A NEXT NEW MEDIUM
fireworks file |
| 20050616 | PLAN FOR A DISHARMONIC PIECE FOR THE NZNL.COM WIND ENSEMBLE, 2009, (FAILED)
flash movie |
| 20050620 | PLAN FOR A GRAMMAR OF BEAUTY, 2009, PERFORMANCE
flash movie |
| 20050621 | PLAN FOR NZNL.COM WORKER SCREAMING, 2008, SCREENING
fireworks file |
| 20050622 | SCREAM, 2009, WHITE CUBE, SCREAM
flash movie |
| 20050629 | PLAN FOR A DRAWING ON THE ISO PAPER SIZE CONCEPT, 2009
flash movie |
| 20050624 | PLAN FOR A WRIGGLY LINE, 2008, WRIGGLY LINE
flash movie |
| 20050630 | ONE DAY, I WILL LET MY MACHINE DO MY SCREAMING
flash movie |
| 20050625 | PLAN FOR A LESS NARCISTIC WHITE CUBE, 2008, WHITE CUBE
fireworks file |
| 20050626 | ABSTRACT PAINTING, 2009, 70 S AMPLIFIERS, WHITE CUBE
fireworks file |
| 20050628 | ANOTHER GRAMMAR OF POWER, 2009, PERFORMANCE
flash movie |
| 20050627 | ONE MORE WRIGGLY LINE, 2009, WRIGGLY LINE
flash movie |
| 20050701 | PLAN FOR A STRAIGHT LINE TO UTOPIA |
| 20050702 | (untitled flash movie) |
| 20050703 | PLAN FOR A COPY OF CY TWOMBLYS LETTER OF RESIGNATION, 2009, INSTALLATION IN THE NZNL.COM CHAMBERS |
| 20050704 | YET ANOTHER PLAN FOR A BODY OF WORK, 2009, (FINGER-TIP DAYS) |
| 20050705 | (untitled flash movie) |
| 20050706 | STUDY FOR A HEAD OF STATE, 2009, INSTALLATION |
| 20050623 | ’žI L L U S T R A T I O N O F A W H I T E C U B E I N R U I N S , 2 0 0 8 , P E R F O R M A N C E F O R 3 N Z N L . C O M W O R K E R S
f i r e w o r k s f i l e
|
| 20050707 | SKETCH FOR A CONFERENCE HALL, 2009, PERFORMANCE FOR THE NZNL.COM MAIN GALLERY
flash movie |
| 20050708 | PRELIMINARY STUDY FOR A STRIKING EXAMPLE, 2009, PLYWOOD, ACRYLICS |
| 20050709 | (untitled web page) |
| 20050710 | PLAN FOR A TRAPDOOR IN THE NZNL.COM MAIN HALL, 2009, PLYWOOD, ACRYLICS
fireworks file |
| 20050711 | PLAN FOR MEMORY MANAGEMENT, 2009, (CUTTING THE PAPER TRAIL), WHITE CUBE, SHREDDER
fireworks file |
| 20050712 | (untitled flash movie) |
| 20050713 | STUDY FOR TWO DARK SPOTS, 2009, WHITE CUBE, DARK SPOTS |
| 20050715 | TWO CUBES, 2009, PERFORMANCE FOR TWO WHITE CUBES
flash movie |
| 20050717 | PLAN FOR A ONE-LINER, 2009
flash movie |
| 20050718 | PLAN FOR NZNL.COM MEDITATION CENTRES IN ALL MAJOR CITIES (VIENNA, MELBOURNE, AUCKLAND, AMSTERDAM), 2009, PERFORMANCE
flash movie |
| 20050719 | ABSTRACT PAINTING, 2009 (PILE OF FRESHLY CUT GRASS)
fireworks file |
| 20050721 | THREE LARGE PIXELS, 2009, C-PRINTS EACH 100 X 100 CM
fireworks file |
| 20050720 | PLAN FOR A NZNL.COM PAVILION IN THE VIENNA NEW MEDIA MUSEYROOM, 2009, CARDBOARD, PHOTOGRAPHS, PASTE
flash movie |
| 20050714 | (untitled flash movie) |
| 20050716 | WISH LIST, 2009
web page |
| 20050722 | THERE IS NO INSIDE AND OUTSIDE, 2009, WORKER CAGE IN PROCESS FLOW, WHITE CUBE
googled image with caption |
| 20050723 | LIGHT SCULPTURE, 2009, WHITE CUBE, LIGHT
fireworks file |
| 20050724 | REFRAMING WOOD, 2009, E-PRINT (BIRCH GROVE FROM ANDREI TARKOVKKYS MIRROR [FROM MEMORY]) |
| 20050725 | MEMORY ROOM, 2009, WHITE CUBE, LIGHT FLOW
fireworks file |
| 20050726 | PLAN FOR A PLACE CALLED HOME, 2009, GOOGLE MAP, WHITE CUBE
fireworks file |
| 20050727 | LIGHT SHOW, 2009, WHITE CUBE, TELEVISION, LIGHT
fireworks file |
| 20050728 | PLAN FOR A TREE, 2009, TREE, WHITE CUBE
googled image |
| 20050729 | ANOTHER PLAN FOR A TREE, 2009, WHITE CUBE, TREE
ray-traced image |
| 20050730 | VERB TREE, 2009
flash movie |
| 20050731 | (untitled flash movie) |
| 20050801 | IN THE ABSENCE OF GOD, WORSHIP THE MUNDANE, 2009, INSTALLATION WITH TREE
fireworks file, googled image |
| 20050802 | DECISION TREE, 2009, CLIFF, SKY, SHADOW, TREE
fireworks file, googled image |
| 20050803 | DECISION TREE, 2009, TREE, DECISIONS
drawing |
| 20050804 | UNDERGROUND, 2009, WHITE CUBE, FLOORBOARDS
fireworks file |
| 20050805 | SHED, 2009, FLOORBOARDS
fireworks file |
| 20050806 | TWIG, 2009, WHITE CUBE, FLOORBOARDS, TWIG
fireworks file |
| 20050807 | untitled flash movie (LOVE, HATE, FATE, FAIL, PLUG, SOCKET, LEAD) |
| 20050808 | YET ANOTHER PLAN FOR AN ARTISTS STATEMENT, 2009, AUTOMATICALLY GENERATED SENTENCES
web page |
| 20050809 | PANNING AND TILTING EXERCISE, 2009, FOREST, CAMERA, VOICE
flash movie |
| 20050810 | CELLAR, 2009, PLYWOOD (MODEL OF THE NZNL.COM CELLAR)
fireworks file |
| 20050811 | GLASS, 2009, WHITE CUBE, ABSTRACT PAINTINGS, GLASS
fireworks file |
| 20041231 | (untitled drawing) |
| 20040131 | (untitled drawing) |
| 20040130 | (untitled drawing) |
| 20040129 | (untitled drawing) |
| 20040128 | (untitled drawing) |
| 20040127 | (untitled drawing) |
| 20040126 | (untitled drawing) |
| 20040125 | (untitled drawing) |
| 20040124 | (untitled drawing) |
| 20040123 | (untitled drawing) |
| 20040122 | (untitled drawing) |
| 20040121 | (untitled drawing) |
| 20040120 | (untitled drawing) |
| 20040119 | (untitled drawing) |
| 20040118 | (untitled drawing) |
| 20040117 | (untitled drawing) |
| 20040116 | (untitled drawing) |
| 20040115 | (untitled drawing) |
| 20040114 | (untitled drawing) |
| 20040113 | (untitled drawing) |
| 20040112 | (untitled drawing) |
| 20050812 | 3 BLOBS IN THE PROCESS OF BECOMING AN ABSTRACT PAINTING, 2009, WHITE CUBE, BLOBS
fireworks file |
| 20050813 | PLAN FOR A BLIND SPOT, 2009, WHITE CUBE, BLIND SPOT |
| 20050814 | (untitled flash movie) |
| 20050815 | ALL THE BOOKS I SHOULD HAVE READ BUT DIDN'T AND WILL NEVER NOW, 2009, DUMMIES, SUPERIMPOSED TITLES, WHITE CUBE, BOOK SHELF
fireworks file |
| 20050816 | PLAN FOR THE YEAR 2011, 2009, LIST
php script |
| 20050817 | PLAN FOR A WHITE CUBE UNTOUCHED BY ENCOMPASSING DISASTER, 2009, WHITE CUBE, SENSURROUND
flash movie |
| 20050818 | PLAN FOR A MODEL OF A WHITE CUBE, 2009, NZNL.COM EXHIBITION COMPLEX
fireworks file |
| 20050819 | VEHICLE, 2009, SHADOW
flash movie |
| 20050820 | ART STUDIO, 2009, NZNL.COM STUDIO VIEW
fireworks file |
| 20050821 | PLAN FOR A REINCARNATION AS YEW TREE, 2009, NZNL.COM FLOORBOARDS
fireworks file |
| 20050822 | STAIN, 2009, WHITE CUBE, STAIN
fireworks file |
| 20050823 | TENTATIVE SKETCH FOR AN ARTISTS STATEMENT, 2009
javascript |
| 20050824 | PLAN FOR THE EXECUTION OF 3 GREAT IDEAS, 2009, PERFORMANCE FOR 2 NZNL.COM WORKERS
fireworks file |
| 20050825 | ONE SMALL SENTENCE, 2009, WORDS, FULL STOP
fireworks file |
| 20050826 | SEA VIEW, 2009, MODEL OF THE NZNL.COM EXHIBITION HALL SITE AT O'CAINS BAY, BANKS PENINSULA, NEW ZEALAND
fireworks file |
| 20050828 | RAT, 2009, WHITE CUBE, RAT
fireworks file |
| 20050827 | STUTTER, 2009, PERFORMANCE FOR NZNL.COM WORKER #1 (LOVE, HATE, FATE, FAIL)
flash movie |
| 20050829 | THREE ITEMS OF POSSIBLE INTEREST, 2009, WHITE CUBE, ITEMS
fireworks file |
| 20040101 | (untitled drawing) |
| 20040102 | (untitled drawing) |
| 20040103 | (untitled drawing) |
| 20040104 | (untitled drawing) |
| 20040105 | (untitled drawing) |
| 20040106 | (untitled drawing) |
| 20040107 | HIDDEN CITY, 2004, drawing |
| 20040108 | (untitled drawing) |
| 20040109 | (untitled drawing) |
| 20040110 | (untitled drawing) |
| 20040111 | (untitled drawing) |
| 20040429 | (untitled drawing) |
| 20040505 | (untitled drawing) |
| 20040506 | (untitled drawing) |
| 20040508 | (untitled drawing) |
| 20040509 | (untitled drawing) |
| 20040511 | (untitled drawing) |
| 20040512 | (untitled drawing) |
| 20040513 | (untitled drawing) |
| 20040514 | (untitled drawing) |
| 20040515 | (untitled drawing) |
| 20040614 | (untitled drawing) |
| 20040619 | (untitled drawing) |
| 20040717 | (untitled drawing) |
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| 20041030 | CREATING ART, DRAWING AND PAINTING, (AND SOMETIMES WRITING), IS MY ULTIMATE CATHARSIS... |
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| 20041101 | CREATING ART, DRAWING AND PAINTING, (AND SOMETIMES WRITING), IS MY ULTIMATE CATHARSIS... |
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| 20041105 | I AM A LIVING ENTITY THROUGH WHICH THINGS FLOW. INFORMATION, IDEAS, AIR, WATER, POLLUTANTS, FOOD, EXPECTATIONS, ABSTRACT CONCEPTUALIZATIONS. I FEEL THAT I HAVE A FRAGMENTED IDENTITY, WHICH IS CONTINUOUSLY SHIFTING ITS PERSPECTIVE BASED UPON WHAT OBJECTS MY BODY COMES INTO CONTACT WITH. MY TRAINING AS AN ARTIST WAS GROUNDED IN PERFORMANCE ART, VIDEO, AND TWO DIMENSIONAL VISUAL ART, AS WELL AS ART HISTORY. MY IDEAS REFLECT THIS TRAINING. MY WORK ETHIC IS BASED ON HARD PHYSICAL LABOR WHICH IS ROOTED IN THE WAY I WAS BROUGHT UP IN A CATHOLIC FAMILY. MY FUNDAMENTAL CONCERNS AS AN ARTIST ARE WITH NOTIONS OF RANDOMNESS AND ABSURDITY, CONCEPTS WHICH BEST DESCRIBE UNIVERSAL REALITY FOR ME AS AN INDIVIDUAL. THESE CONCEPTS ARE THE CORE OF WHAT I ATTEMPT TO EXPRESS IN MY ART. I FEEL MOST CLOSELY CONNECTED TO THE IDEAS OF THE DADA MOVEMENT, OF EARLY PERFORMANCE HISTORY, AND ESPECIALLY TO THE EXPERIMENTATION WHICH WENT ON DURING THE GERMAN PHASE OF THE BAUHAUS. MY ART IS ABOUT EXPERIMENTATION. IT IS ABOUT ABSURDITY. IT IS ABOUT RANDOMNESS. IT LENDS ITSELF MORE TO THE CONCEPTUAL TRADITION OF THE 20TH CENTURY ART WHICH IS PROBABLY WHY I WORK FAST AND WORK IN MANY DIFFERENT MEDIUMS ATTEMPTING TO EXPRESS THESE CONCEPTS, BE IT 3 X 100 FT. COLLAGE SCROLLS OR STAPLING ART TO TELEPHONE POLES OR PERFORMING ANONYMOUSLY IN A PUBLIC PARK OR PUTTING ARTWORK ON PUBLIC ACCESS TELEVISION, PAINTING FURIOUSLY OR USING JUNK AS COLLAGE MATERIAL; MY WORK IS QUICK AND ACCUMULATIVE AND DEFINITELY CONCEPTUAL. IT IS ALSO ABOUT THE IDEALISM OF ART, THE IDEA THAT ART IS TRANSFORMATIVE, HEALING, AND FUNDAMENTALLY HUMAN. SO THIS IS MY ARTIST'S STATEMENT. THANKS FOR READING IT. I AM FASCINATED BY HOW CATACLYSMIC EVENTS IMPACT LIFE. LIFE IS EPHEMERAL AND SUPERFICIAL REALITY AN ILLUSION. NO MATTER WHAT STEPS WE TAKE TO PROTECT OURSELVES AGAINST THREATS TO OUR SURVIVAL, THERE ARE ULTIMATELY NO GUARANTEES. WE WILL NEVER BE IN TOTAL CONTROL. HOWEVER, THIS DOES NOT ENTITLE US TO SIT IN THE BLEACHERS OF THE GAME OF LIFE, WAITING TO GET HIT BY A BALL. MY ART, AS THAT OF MOST ARTISTS, IS A RESPONSE TO MY ENVIRONMENT. THE INTERNET, NEWS PROGRAMS AND THE CONVERSATIONS BETWEEN FRIENDS AND STRANGERS ALL SERVE AS RAW MATERIALS FOR THE CREATION OF MY WORK. THE GREATEST EXCITEMENT FOR ME IS GENERATED BY SOLVING PROBLEMS ASSOCIATED WITH THE EXECUTION OF MY IDEAS. FINDING THE RIGHT INFORMATION, IMAGES, AND SELECTING THE MOST SUITABLE TECHNIQUE FOR REPRESENTING MY THOUGHTS IS WHAT GIVES MY DAY ITÕS MEANING. WOULD IT BE MORE EFFECTIVE TO USE HUMOR, SATIRE OR SHOCK TO ILLUSTRATE MY THOUGHTS? HOW CAN I CREATE THE MOST POWERFUL WORK TO REPRESENT THE FEELINGS OF MY SOUL? I DO NOT LIMIT MYSELF TO ANY ONE PARTICULAR MATERIAL OR FORM TO EXPRESS MY VIEWS. I SELECT WHATEVER I DEEM TO BE THE MOST SUITABLE MEDIUM OR FORMAT FOR THE EXPRESSION OF MY THOUGHTS AND THE CREATION OF THE STRONGEST WORK. I FEEL THAT IT IS MY RESPONSIBILITY AS AN ARTIST TO DO THIS IN THE HOPE OF TOUCHING THE HUMAN HEART AND PREVENTING THIS WORLD FROM CAREENING TOTALLY OUT OF CONTROL. I DO NOT SEE THE CREATION OF BEAUTY OR NOVELTY AS THE PRIMARY FUNCTION OF ART, BUT INSTEAD, FEEL THAT ART SHOULD ENGAGE THE HEART AND MIND, AND, THEREBY, HOPEFULLY CHANGE THIS WORLD INTO A MORE PEACEFUL ONE. A PORCELAIN ARTIST WITH A BS IN THE SCIENCES AND A MASTERS OF FINE ARTS, HAS BEEN A HIGH SCHOOL CHEMISTRY AND PHYSICS TEACHER FOR MORE THAN 25 YEARS. IN HIS EVOLVING OCTAHEDRAL PORCELAIN PROCESS, EFFORTLESSLY COMBINES ELEMENTS FROM BOTH THE SCIENCES AND THE ARTS. SEVEN YEARS IN ITS EVOLUTION, THIS APPROACH TO SCULPTING SPHERICAL PORCELAIN VESSELS FOCUSES ON COMBINING THE EXACTITUDE OF MEASUREMENT, THE MATHEMATICS OF THE SPHERE AND EXERCISES IN GEOMETRY WITH THE UNIQUE AESTHETICS OF EMBEDDED DESIGN. ART DRAWS ITS INSPIRATION FROM HIS ARABIC HERITAGE. HIS WORKS BRING TOGETHER IN THREE DIMENSIONS THE SAME SYMMETRICAL ELEMENTS THAT DEFINE THE BEAUTIFUL WORKS OF ISLAMIC SACRED ART. HISTORICALLY, ISLAMIC ARTISTS MASTERED THE APPLICATION OF MATHEMATICS TO PATTERNED TILINGS BECAUSE THEIR WORK COULD CONTAIN NO GRAVEN IMAGES. THESE INTERLACED DESIGNS EMBODY AN UNBROKEN RHYTHM, REGULARITY AND INTERWOVENNESS THAT ONLY SUCH ABSTRACT FORMS CAN CONVEY. FINISHED VESSELS INTRODUCE CURVATURE TO THE EMBEDDED DESIGNS, AT ONCE BOTH NATURAL AND ABSTRACT, BRINGING A NEW DIMENSION TO THE GEOMETRIC ART EXPERIENCE. DESIGNS, HOWEVER, UNLIKE TRADITIONAL ISLAMIC DESIGN, ALSO COMBINE BOTH CHAOS AND ORDER IN A SYMMETRICALLY UNIFIED "WHOLE." APPROACH TO DESIGN IN PORCELAIN ALSO DRAWS FROM THE WORKS OF OTHER ARTIST/SCIENTISTS IN HISTORY, MOST NOTABLY BUCKMINSTER FULLER, WHO EXPLORED THE ENERGETIC GEOMETRY OF THE SPHERE IN HIS "SYNERGETIC GEOMETRY" AND WAS BEST KNOWN AS THE INVENTOR OF THE GEODESIC DOME. AS HE BEGAN TO BRING BUCKY'S APPROACH FROM SYNERGETICS INTO HIS EFFORTS TO DIVIDE THE SPHERE, DEFINE THE PLANES OF TRUNCATION OF POLYHEDRA TO FORM MODULES AND TO RECOMBINE THE MODULES INTO NEW FORMS, THE MORE BEAUTIFUL AND HARMONIOUS THE RESULTING DESIGNS HAVE BECOME. THE EMBEDDED GEOMETRIC DESIGN PATTERNS OF THESE UNIQUE PORCELAIN VESSELS EMBODY MANY OF FULLER'S ELABORATIONS OF SYNERGETICS, A GEOMETRIC SYSTEM BASED ON HIS ATTEMPTS TO UNDERSTAND "NATURE'S DESIGN." EXAMINES THE EFFECTS OF TOTALITARIANISM, SURVEILLANCE, QUARANTINE AND ISOLATION, AND MUTATION ON BOTH THE VICTIMS OF SARS AND THOSE SPARED BY THE SCOURGE OF THIS AND OTHER DISEASES. HIS CONCLUSION: NO MATTER WHAT STEPS WE TAKE TO PROTECT OURSELVES AGAINST THIS DISEASE AND OTHER THREATS TO SURVIVAL, THERE ARE ULTIMATELY NO GUARANTEES. LIFE IS EPHEMERAL. WE WILL NEVER BE IN TOTAL CONTROL. HOWEVER, THIS DOES NOT ENTITLE US TO SIT IN THE BLEACHERS OF THE GAME OF LIFE, WAITING TO GET HIT BY A BALL. IN THE ÕS STUDIED PAINTING IN TAIPEI UNDER THE TUTELAGE OF THE CONTEMPORARY ARTIST, . FEELING CONFINED BY THE ARTISTIC ENVIRONMENT OF TAIPAI, IN 'S HE MOVED TO THE UNITED STATES WHERE HE STUDIED ART & DESIGN AT THE PARSONS SCHOOL OF DESIGN AND PRATT INSTITUTE. HE GRADUATED WITH A MASTERS DEGREE FROM PRATT. AT THE NEW SCHOOL, JOHN BRZOSTOSKI INTRODUCED TO THE PHILOSOPHY OF LAO-TSU. THIS HAD A PROFOUND EFFECT ON HIM AND HIS ART. FOR LAO TSU, THE ULTIMATE PARADOX CONCERNS THE NATURE OF REALITY ITSELF. HE REGARDED SUPERFICIAL REALITY AS AN ILLUSION. TRUE REALITY, IN HIS OPINION, IS HIDDEN FROM US BY OUR USE OF WORDS. LAO TSUÕS WORD FOR THIS HIDDEN REALITY IS ŅTAOÓ. CHIN CHIH BEGAN TO INCORPORATE TAOIST CONCEPTS INTO HIS PAINTINGS. IN THE LATE 90ÕS, ESTABLISHED 123SOHO.COM AS A LIBRARY OF CONTEMPORARY ARTISTS. HE SERVES AS THE CURATOR OF THE WEBSITE SINCE . CURRENTLY, 123SOHO HAS APPROXIMATELY ARTISTS. CHIN CHIH REGARDS 123SOHO AS A LIVING PIECE OF ART THAT CONTINUOUSLY EVOLVES. CHIN CHIHÕS FIRST IMAGE IN THIS SERIES IS ENTITLED ŅI AM READYÓ. IT WAS CREATED IN RESPONSE TO THE WAR ON AIDS IN , ADAPTED TO THE CRISIS GENERATED BY EVENTS OF 9/11, AND TAILORED TO THE IRAQ WAR. IT DEPICTS A MANÕS GENITALIA MODESTLY COVERED BY A WORLD WAR ONE GAS MASK. I BEGIN MY WORK WITH WHITE FABRIC BECAUSE I SEE ITS POSSIBILITIES. FABRIC CAN BE USED IN MANY DIFFERENT WAYS. IT IS AN OBEDIENT, FORGIVING MATERIAL. I WANT EVERY PROCESS AND TECHNIQUE THAT I USE TO CONTRIBUTE TO THE CONTENT OF MY WORK SO I DYE, PRINT AND PAINT MY OWN IMAGES. THE NATURE OF FABRIC IS THAT IT ACCEPTS COLOR AND SO IT IS MORE RESPONSIVE TO ME. I LIKE TO YIELD TO WHAT HAPPENS WITH THE PROCESS WHILE WORKING. FABRIC IS SENSUAL AND CAN BE MANIPULATED. IT CAN BE MADE TO HAVE WEIGHT, MASS, AND TEXTURE. IT CREATES ATMOSPHERE BY REFLECTING AND CHANGING ITS APPEARANCE IN LIGHT. FOR ME, THE RESULT IS A MATERIAL WITH THE POTENTIAL OF AN INFINITE EXPANSION OF EXPRESSION AND FORM. I PLACE MYSELF SOLIDLY IN A TEXTILE TRADITION AND BECAUSE OF THAT I FEEL FREE TO USE ANY TEXTILE TECHNIQUE THAT WOULD CONTRIBUTE TO MY WORK. I LOOK BACK IN HISTORY TO SEE WHERE I CAME FROM, BUT THE NEW COMES THROUGH MY EXPERIENCE OF WORKING. AS IT WAS WITH MY PREDECESSORS, THE EMBROIDERERS, QUILTERS AND LACE MAKERS WHO WORKED WITH FABRIC AND THREAD, TIME IS NOT A FACTOR WHEN I WORK. I DO NOT CHOOSE TO REJECT A TECHNIQUE SIMPLY BECAUSE IT IS LABORIOUS. I BASE MY WORK ON GEOLOGICAL RATHER THAN TV TIME. I AM OBSESSED WITH EVERY COLORED SPOT OF DYE AND HOW IT LOOKS NEXT TO ANOTHER COLORED SPOT. THE USE OF MY FABRICS HAS LED ME TO CREATE A BODY OF WORK THAT BEGINS FROM THE DYEING AND PRINTING OF THE FABRIC TO ITS CONSTRUCTION ON THE SEWING MACHINE. USING THE TECHNIQUE OF FREE-MOTION EMBROIDERY ON THE SEWING MACHINE HAS ALLOWED ME TO INTRODUCE TEXTURE AND LACE IN MY WORK, AND TO BUILD THE QUILTS IN A UNIQUE WAY. RATHER THAN CONSTRUCTING AND SEWING THEM IN THE TRADITIONAL WAY, I SEW THE WORK BY PIECING THE INDIVIDUAL ELEMENTS TOGETHER USING APPLIQU, QUILTING, SEWING MACHINE LACE AND EMBROIDERY. THE LACE WORK THAT JOINS THE PIECES TAKES ADVANTAGE OF THE RESULTING NEGATIVE SPACE. THIS ENABLES ME TO ELIMINATE THE BACKGROUND THAT IS USUALLY USED TO HOLD THE IMAGE TOGETHER. I WANT THE TECHNIQUE TO ENHANCE MY SUBJECT. WITH THE BASIC THEME OF PARADISE AND THE USE OF MY IMAGERY I AM ABLE TO USE THE VARIOUS FORMS OF PLANT LIFE, FLOWERS, VINES, STEMS, AND INSECTS. MY OBJECTIVE IS TO PRODUCE A SERIES OF QUILTS THAT ARE MOTIVATED BY METAPHORS OF PARADISE AND THE EVOCATIVE USE OF NATURE TO INSPIRE SPIRITUAL AND UPLIFTING FEELINGS. I WOULD LIKE TO PLACE MYSELF WITH THOSE ARTISTS WHO HAVE ESTABLISHED AN UNBROKEN HISTORY OF WORKS OF ART DEALING WITH THE THEME OF PARADISE. THE SUBJECTS THAT I WISH TO ADDRESS ARE LARGELY TRADITIONAL, SUCH AS TREES, GARDEN, FLOWERS, ANIMALS, FRUIT AND VEGETABLES. THESE VISUAL IMAGES OFFER ME ASSOCIATIONS WITH MANY LEVELS OF MEANING. JAPANESE SCREENS AND 1ST CENTURY ROMAN GARDEN ROOMS ARE HISTORICAL EXAMPLES THAT USE NATURE SYMBOLISM. THE WALL PAINTINGS IN IMPERIAL ROMAN GARDEN ROOMS OF THE LATE1ST CENTURY BC AND EARLY 1ST CENTURY AD WERE RICH WITH SYMBOLISM. IN THESE ROOMS PEOPLE COULD REFRESH THEIR MINDS WHILE CONTEMPLATING NATURE. THE SAME CONTEMPLATION WAS USED AS THE BASIS FOR JAPANESE SCREENS. THE IMAGES ON THE SCREENS WERE MEANT TO INSPIRE A FEELING FOR THE BEAUTY OF NATURE AND THE JAPANESE IDEA OF MONO-NO-AWARE, THE "PATHOS OF THINGS". I CHOOSE TREES, LEAVES, FLOWERS, FRUIT, VEGETABLES AND INSECTS FOR SIMILAR REASONS. I WANT TO CONSTRUCT THE CHARACTER OF NATURE AND PARADISE FROM ITS SMALLER PARTS. I ALSO WANT TO BRING PERPETUAL SUMMER INDOORS, THE COOL OF THE FOREST, THE HEAT IN THE MEADOW AND THE WHINE OF INSECTS IN THE GRASS. I CAN PAINT ON SITE FROM LIFE OR ENTIRELY FROM PHOTOGRAPHIC REFERENCE ALTHOUGH MY PREFERENCE IS TO USE A MIXTURE OF REFERENCE MATERIALS AND TECHNIQUES TO HEIGHTEN THE VISUAL RELATIONSHIP. I BEGIN WITH LIFE SITTINGS, GATHERING AS MUCH INFORMATION ABOUT THE CLIENT AND POSE AS IS NECESSARY. COMPOSITIONAL AND FEATURE SKETCHES AND COLOUR REFERENCE CHARTS ARE NOTED FOR ACCURACY AND A SERIES OF BLACK AND WHITE PHOTOGRAPHS ARE TAKEN FOR FORM AND STRUCTURE. I CARRY OUT MOST OF THE WORK IN MY STUDIO, WHICH OFTEN FAVOURS THE CLIENTÕS SCHEDULE AND PREVENTS THE DEVELOPMENT OF AN OVERLY SYMPATHETIC OR BIASED APPROACH ( THE FIRST IMPRESSION IS THE MOST ACCURATE ). FINALLY, I RETURN TO COMPLETE THE PORTRAIT FROM LIFE, USUALLY ONLY A FEW SITTINGS ARE NECESSARY AND AT THIS POINT THE CLIENT WILL BE ABLE TO GIVE ADVICE ON THE FINISHING TOUCHES. AFTER THE PAINTING HAS BEEN RESOLVED, I BUILD A FRAME AS A FINISH TO THE WORK AND TO ADD SUPPORT TO THE CANVAS, HOWEVER, IF A MORE ELABORATE FRAME IS MORE SUITABLE, I WOULD BE MORE THAN HAPPY TO OFFER MY OPINION. I SEPARATE PORTRAITURE FROM ART THE SAME WAY ONE WOULD WITH WORK AND PLAY. EVEN THOUGH I ENJOY BOTH EQUALLY, PORTRAITURE DEMANDS RESPECT, WHEREAS MY ART IS FOUNDED BY A PERSONAL, PSYCHOANALYTICAL EXPERIMENT, NO USE TO ANYONE AND GENERALLY PURCHASED BY NO ONE. THE COMMITMENT TO PORTRAITURE ENCOURAGES THE FRIVOLITY IN MY ART HOWEVER IT ENABLES ME TO AVOID EVER INCREASING COMMERCIAL POPULARITY. IN PORTRAIT PAINTING THE REPUTATIONS OF BOTH ARTIST AND CLIENT ARE IN THE BALANCE, THEREFORE COMPROMISE IS THE ONLY SOLUTION. HARMONY CAN BE FOUND BETWEEN THE PAINTERS IDEALISTIC AMBITION AND THE CLIENTÕS PERSONAL EXPECTATIONS. WE MUST USE AN INTUITIVE DISCRETION TO FIND SENSITIVITY, EMPATHY AND UNDERSTANDING, VIRTUES THAT FORM THE ESSENCE OF ANY SUCCESSFUL WORK. PORTRAITURE PROVIDES A SOCIAL PLATFORM ON WHICH ONE CAN ASPIRE TO BELONG, INTRODUCING EXAMPLES OF COMMON REALITY WITH INSPIRATIONAL POSSIBILITY. THE ARTIST IS THE MEDIUM, THE CONTROL ELEMENT NEEDED TO UNITE AND HAS THE UNIQUE ABILITY TO PROJECT THE POSITIVE ASPECTS OF DIFFERENCE AND ELIMINATE THE DISCRIMINATORY STIGMAS ATTACHED TO RACE, CLASS AND SEX. THE PORTFOLIO BECOMES A SOCIAL VOCABULARY UNIVERSALLY READ, UNDERSTOOD AND ACCEPTED BY ALL. I BUILD ELECTRONIC MACHINES THAT INTERACT WITH THEIR ENVIRONMENT. MY HOPE IS THAT THE ENVIRONMENT IS MADE UP OF PEOPLE OBSERVING AND CONTEMPLATING WHAT THEY ARE EXPERIENCING. AN OBSERVER IS ESSENTIAL TO WHAT I CREATE, AND IT IS THIS ACTIVE RELATIONSHIP BETWEEN OBJECT AND VIEWER THAT I STRIVE TO CALL INTO ATTENTION. BY MAKING THE OBSERVATION AND INTERACTION WITH OBJECTS THE FOCUS OF MY WORK I'M TRYING TO RE-THINK THE WAY I INTERACT WITH OBJECTS IN MY OWN ENVIRONMENT. I AM SELF TAUGHT IN THE FIELD OF ELECTRONICS AND EVERYTHING I BUILD IS A PERSONAL EXPLORATION INTO THE FUNCTIONING OF DEVICES OFTEN TAKEN FOR GRANTED. WHILE THE PRACTICAL FUNCTIONING OF THE DEVICES I CREATE OFTEN SEEM SIMPLE, THEY ARE FOR THE MOST PART CONSTRUCTED OUT OF RAW COMPONENTS AND CAN BE QUITE COMPLEX. FOR EXAMPLE, LET'S SAY A LIGHT BULB IS TRIGGERED TO FLASH WITH DIFFERENT PATTERNS DEPENDING ON WHETHER OR NOT A PERSON IS STANDING IN FRONT OF IT TRIGGERING A MOTION SENSOR. SIMPLE IN OPERATION BUT COMPLEX TO ACTUALLY BUILD. I ENJOY BUILDING INTERACTIVE DEVICES, AND I DERIVE A GREAT DEAL OF SATISFACTION FROM THE PROBLEM SOLVING AND TECHNICAL RESEARCH NECESSARY TO COMPLETE THEM. IT IS MY HOPE THAT WHEN PEOPLE EXPERIENCE MY WORK, THEY QUESTION BOTH THEIR UNDERSTANDING OF THE PIECE OF ART THEY ARE EXPERIENCING AND OF OTHER OBJECTS THEY INTERACT WITH DAILY. MASTER'S DEGREE IN FINE ARTS FROM THE GERRIT RIETVELD ACADEMY OF ART IN AMSTERDAM, WHERE SHE STUDIED PAINTING, DRAWING, GRAPHICS AND ART HISTORY. FOLLOWING HER FORMAL TRAINING, SHE UNDERTOOK EXTENSIVE TRAVELS TO COUNTRIES AS WIDESPREAD AS AUSTRALIA, NEW ZEALAND, POLYNESIA, JAPAN, CHINA, SOUTH AND CENTRAL AMERICA,AND HER EXPOSURE TO VARIED AND UNFAMILIAR CULTURES IS REFLECTED IN BOTH THE TECHNIQUE AND THE CONTENT OF HER WORK. ELEONORA TAMMES HAS EXHIBITED HER ARTWORK IN GALLERIES THROUGHOUT THE NETHERLANDS, SWITZERLAND, ENGLAND AND THE U.S.A. THE WORKS ON PAPER BY ELEONORA TAMMES ARE NON-FIGURATIVE. A RHYTHMIC BUILD-UP, THE SUGGESTION OF CHANGE, ORGANIC PROCESSES, FORM REPETITIONS AND STRUCTURES DOMINATE THE COMPOSITIONS. CENTRAL IS THE COMBINATION OF SHAPES AND LINE PATTERNS, COLOR SHADES AND MOVEMENT. CLOSE STUDY OF HER WORK REVEALS A FASCINATION WITH FORM AND PROPORTION. AS IF, FOR HER, PAINTING IS A MATTER AND MANNER OF RESEARCH INTO THE WAYS ELEMENTS OF FORM RELATE AND INTERACT WITH EACH OTHER. HER INTENTION IS TO DISCOVER AND EMPLOY THE INTERPLAYS OF LIGHT, SHAPE, COLOR AND STRUCTURE. NOT AS A GOAL IN ITSELF, BUT TO ACHIEVE AND EXPRESS DEEPER UNDER- STANDING OF WHAT MATTERS IN OUR OWN EXISTENCE. ELEONORA TAMMES INTERPRETS AND RENDERS THE INTRINSIC OF REALITY THROUGH A WAY OF WORKING THAT ENABLES HER TO LINK DISTANCE TO INTENSITY AND REPETITION TO DYNAMICS AND EVOLUTION. COMBINING PAINTING (ACRYLICS) AND DRAWING (PAINTMARKER), SHE GENERATES HER COMPOSITIONS BY (IR)REGULAR REPETITION OF A BASIC MOTIF. SUCH A 'BUIDING STONE' , OFTEN WITH AN ABSTRACT ORGANIC SIGNATURE, IS STACKED,± HUNG, OR OTHERWISE ARRANGED TO BECOME (PART OF) A CONDITION, ATMOSPHERE, FUNCTION, TISSUE, SPACE, ORGANISM,.... . CONSEQUENTLY, MANY OF HER PAINTINGS HAVE A CERAMIC, SCULPTURAL OR EVEN ARCHITECTONIC OVERTONE. ELEONORA TAMMES: WHO IS OPERATING IN THE GAP BETWEEN THE ABSTRACT AND THE FIGURATIVE, EVOKES A RESPONSE FROM A DEEP LEVEL OF CONSCIOUSNESS WITH HER STARK, POWERFUL IMAGERY. SHE IS AN EXPLORER OF THE INTERWOVEN PATTERNS OF EARTH, SPACE AND TIME. EMPLOYING A SUBDUED PALETTE OF MUTED EARTH COLORS, SHE EMPLOYS SUBTLY SUGGESTIVE FORMS WHICH CONVEY A SENSE OF PRIMITIVE ARCHETYPE WITHOUT EVER FORMALLY ESTABLISHING THEMSELVES, LEAVING THE VIEWER FREE TO INDENTIFY THE PRIMORDIAL SHAPES INDEPENDENTLY. AT ONCE PURE ABSTRACTION AND PROVOCATIVE ALLUSION, HER MOTIFS SEEM TO DRAW BOTH THE PREHISTORIC AND THE CONCEPTUAL FOR THEIR SOURCES.TAMMES CHARTS THE INNER PROCESS OF THE JOURNEY THROUGH THE PHYSICAL INTO THE METAPHYSICAL. VIGNETTES ABOUT EVERYTHING THIS WEB COMIC IS BASED ON A NUMBER OF IDEAS, IDEOLOGIES AND PHILOSOPHIES. AS WITH ALL MY WORKS IT IS PERSONAL AND IDIOSYNCRATIC. THE SCOPE OF SUBJECT IN THIS PROJECT IS FAR WIDER FROM WHAT I'VE EXPLORED BEFORE. THE POLITICAL, ENVIRONMENTAL AND SOCIAL COMMENTARY EXPLORED IN THIS COMIC ARE ALL BASED ON MY OWN EXPERIENCE AND UNDERSTANDING OF THE WORLD. IT IS, AT TIMES, AND EVEN AT THE SAME TIME; ABSURD AND FUNNY; SAD AND LONELY; POIGNANT AND POLITICAL. IT HAS EXPLORED, IN A SENSE, EVERYTHING. I BELIEVE EVERYTHING IS CONNECTED; FROM THE COFFEE CUPS ON OUR CLASSROOM TABLE, TO THE COFFEE BEAN PLANTATIONS IN PERU; FROM THE PAPER IN OUR SKETCHBOOKS TO THE FORESTS OF THE OTTAWA VALLEY; FROM THE MICROSCOPIC BEINGS LIVING IN OUR FOOD TO THE ABSURDITY OF OUR EVERYDAY LIVES - I WANTED TO EXPLORE AS MUCH OF IT AS I COULD. IN A SMALL WAY, IT ALSO ATTEMPTS TO CREATE CONNECTION BETWEEN THE SIXTEEN STUDENTS THROWN TOGETHER IN OUR "SQUARE" GROUP. IN COMMENTING ON OUR DISPARATE "NATIONAL" HISTORIES, AND MAKING FUN OF OUR RELATIVE (AT LEAST IN MY OWN CASE) IGNORANCE OF EACH OTHER'S CULTURES, I TRIED TO, AT THE SAME TIME TOUCH UPON OUR HUMAN SIMILARITIES AND FOIBLES. IN OTHER WORDS, IT IS ABOUT OUR COMMONALITY; ABOUT THE EVERYTHING ABOUT US; ABOUT OUR INTER-CONNECTEDNESS. AT THE BEGINNING OF THE PROJECT, AFTER A GROUP CRITIQUE WITH IAN AND ALL THE ŅSQUARESÓ, I DID A SKETCH CHARACTERIZING MY CLASSMATES AND THEIR IDEAS FOR THIS SQUARE PROJECT. AFTER SOME LESS THAN SUCCESSFUL WORK ON SOME OTHER IDEAS, I CAME BACK TO THIS SKETCH AND USED THESE 16 PEOPLE AS THE BASIS OF AN INTERACTIVE COMIC WHICH ENDED UP EXPLORING FAR MORE THAN A CRITIQUE IN AN ART SCHOOL. IN RELATION TO THE 16 PEOPLE, I ADDED 16 OBJECTS FOUND WITHIN THE CLASSROOM, AND FINALLY, THE 16 COUNTRIES OR PLACES THAT EACH THEM CAME FROM. FROM EACH OF THESE 48 PANELS, I DEVELOPED A 4 PANEL COMIC THAT WOULD NOT ONLY WORK ON IT'S OWN, BUT WHEN CONNECTED WITH AND SEEN IN CONJUNCTION WITH THE 47 OTHER SHORT COMICS, WOULD PROVIDE A DEEPER LOOK INTO OUR SEEMINGLY NORMAL EVERYDAY LIVES. ALTHOUGH SOME OF THE VIGNETTES - AS I'VE NOW CALLED THEM - ARE ABSURD, RANDOM AND FUNNY, I THINK THERE IS A TRUTH IN EACH OF THEM. I WANTED A HEALTHY MIXTURE OF HUMOR, LOVE, POLITICS, AND ENVIRONMENTALISM ALL TIED TOGETHER IN A SEMI-AUTOBIOGRAPHICAL MANNER. THE END RESULT IS QUITE EFFECTIVE. THIS IS A GRAPHIC EXPLORATION OF THE INTERCONNECTEDNESS OF OUR WORLD AND MY PLACE IN IT, HERE AT LONDON COLLEGE OF PRINTING, AT THIS MOMENT IN TIME. IT ILLUSTRATES HOW IMAGES AND WORDS CAN BE COMBINED IN A SYNERGISTIC MANNER INTO POWERFUL, DEEP, COMPLEX COMMUNICATION AND EVEN, PERHAPS, COMMUNION. I SHOULD LIKE TO CELEBRATE THE BEAUTY OF FLOWERS THROUGH MY PAINTINGS. THERE THEY BLOOM FOREVER IN A RATHER UNCERTAIN WORLD. MY WORK IS A FORM OF STABILITY, CAPTURING AND HOLDING THE ESSENCE OF THE MOMENT FOR OTHERS TO ENJOY - A STATEMENT THAT LIFE IS EXTRAORDINARY. I FIND CLOTH BODIED BABY DOLLS AT THRIFT SHOPS AND SEND THEM TO TATTOO ARTISTS WHO THEN DRAW ORIGINAL TATTOOS DIRECTLY ON THE DOLLS. THEY SEND THE DOLLS BACK TO ME AND I HAND EMBROIDER THE IMAGES ON THE CLOTH BODIES. TWELVE OF SIXTEEN DOLLS HAVE BEEN COMPLETED TO DATE. THE DOLLS, LIKE THEIR ARTISTS, ARE OF DIFFERENT RACES, RELIGIOUS AND SEXUAL ORIENTATIONS, AND CULTURAL BACKGROUNDS. EACH COLLABORATING ARTIST IS ASKED TO CONSIDER HER RESPONSE TO TATTOOING THE DOLL ALONG WITH MY FEEDBACK AND RESPONSE TO EMBROIDERING THE DOLL. FROM THERE SHE IS ENCOURAGED TO NAME AND THEN WRITE A SHORT STATEMENT OR STORY ABOUT HER DOLL. I HAVE BEEN WORKING ON THE PROJECT SINCE 1998. THE IDEA ORIGINATED WHILE I WAS IN RESIDENCE AT THE HEADLANDS CENTER FOR THE ARTS. WHILE STUDYING THE HISTORY OF EMBROIDERY, I WAS SIMULTANEOUSLY FASCINATED BY ALL OF THE INCREDIBLE TATTOOS I WAS SEEING IN SAN FRANCISCO. LIKE EMBROIDERY, TATTOO SEEMED TO CARRY ON A SIMILAR TRADITION OF DEEPLY SYMBOLIC IMAGES THAT WORKED TO FORM COMMUNITY AND SERVED TO DEFINE AND EMPOWER THOSE WITHIN THE COMMUNITY IN VARIOUS WAYS. I CHOSE TO RECYCLE AND TRANSFORM USED AND DISCARDED DOLLS AS A DIRECT VEHICLE FOR MERGING THE TWO ART FORMS. THE TATTOO BABY DOLL PROJECT SERVES TO BREAK DOWN BARRIERS AND PREJUDICES ABOUT WOMENÕS WORK AND ROLES, TATTOO SUBCULTURE, CRAFT AND ART. THE PROJECT STRIKES A SUBTLE BALANCE BETWEEN THESE VARIED TRADITIONS AND THE COMMUNITIES THEY REPRESENT, THUS QUESTIONING THE LINES THAT DEFINE, SEPARATE AND EMPOWER EACH TRADITION. IT DRAWS TOGETHER TWO DISTINCT AND DISTANT MARGINAL GROUPS. YET THE UNUSUAL JUXTAPOSITION BETWEEN EMBROIDERY AND TATTOO MAKES SENSE BECAUSE IT EXPOSES AN UNDERLYING METAPHOR INTRINSIC TO BOTH MARGINAL GROUPS. IT IS THROUGH THE RECOGNITION OF SHARED METAPHORS THAT CULTURAL HIERARCHIES AND PERSONAL PREJUDICES BEGIN TO BREAK DOWN. INTRINSIC TO THE PROJECT IS THAT IT BE SHOWN IN A WIDE RANGE OF VENUES INCLUDING TATTOO PARLORS AND CONVENTIONS, WOMENÕS VENUES SUCH AS BOOK STORES, COLLEGES AND FEMINIST GATHERINGS, ALTERNATIVE ART AND NON-PROFIT GALLERIES, CONTEMPORARY ART GALLERIES AND MUSEUMS, FOLK ART & CRAFT MUSEUMS, DOLL AND EMBROIDERY SHOWS, UNIVERSITY AND COMMUNITY COLLEGE GALLERIES. IF YOU WOULD LIKE TO SEE THE TATTOO BABY DOLL PROJECT VISIT YOUR COMMUNITY, PLEASE FORWARD INTERESTED VENUE OR CURATORIAL CONTACTS TO ME AND I WILL INVITE THEM TO INVESTIGATE THE PROJECT FURTHER. THE PROCESS OF CASTING IRON IS POWERFUL AND FASCINATING. QUITE OFTEN THE MEANS BY WHICH AN OBJECT OF IRON IS CREATED HOLDS MORE INTRIGUE AND INTENSITY THAN THE OBJECT ITSELF. THIS IS THE BASIS OF MY WORK. WITHIN ONE PIECE LIE MANY ART FORMS: FIRST, THE PERFORMANCE OF MELTING AND POURING MOLTEN METAL; SECOND, THE STRUCTURE THROUGH WHICH THE METAL TRAVELS, AND FINALLY, THE SURFACE WHICH THE METAL IS POURED UPON. EACH OF THESE STANDS ALONE AS A SINGULAR WORK OF ART, OR AS ONE ALL ENCOMPASSING PIECE. VIDEO AND PHOTOGRAPHIC DOCUMENTATION ARE ALSO INCLUDED AS WORKS OF ART. MY EXPERIMENTS WITH MOLTEN IRON HAVE SPAWNED NUMEROUS VARIATIONS IN THE APPLICATIONS OF THE CASTING PROCESS: NO LONGER DOES THE END RESULT COMPLETELY DEFINE THE ART FORM. IT IS, IN FACT, THE PROCESS OF MELTING AND POURING THE METAL WHICH HAS BECOME THE ARTWORK. STRUCTURES ARE CREATED TO LIFT AND MANIPULATE THE METAL WHEN IN LIQUID FORM. IN SOME CASES THE STRUCTURE THAT REMAINS SERVES MORE AS DOCUMENTATION OF THE EVENT AND LESS AS AN OBJECT OF ART. AS EXPERIMENTS CONTINUE, THE EVENT AND THE STRUCTURE WILL BECOME TWO PARTS OF THE SAME PIECE, THOUGH THEY ARE SEPARATE. FURTHERMORE, MOLTEN METAL HAS BECOME A TOOL FOR MARK MAKING. SIMILAR TO A GOUGE, HOT METAL CAN BURN AND SCAR NUMEROUS SURFACES FOR VARIOUS RESULTS. WITH FURTHER DEVELOPMENT OF THIS CONCEPT NEW ELEMENTS ARE INTRODUCED (STONE, WATER, ICE) TO INTERACT WITH THE IRON. AS A RESULT, THE FUNCTION OF IRON IS ALTERED ONCE AGAIN. |
| 20041106 | I AM A LIVING ENTITY THROUGH WHICH THINGS FLOW. INFORMATION, IDEAS, AIR, WATER, POLLUTANTS, FOOD, EXPECTATIONS, ABSTRACT CONCEPTUALIZATIONS. I FEEL THAT I HAVE A FRAGMENTED IDENTITY, WHICH IS CONTINUOUSLY SHIFTING ITS PERSPECTIVE BASED UPON WHAT OBJECTS MY BODY COMES INTO CONTACT WITH. MY TRAINING AS AN ARTIST WAS GROUNDED IN PERFORMANCE ART, VIDEO, AND TWO DIMENSIONAL VISUAL ART, AS WELL AS ART HISTORY. MY IDEAS REFLECT THIS TRAINING. MY WORK ETHIC IS BASED ON HARD PHYSICAL LABOR WHICH IS ROOTED IN THE WAY I WAS BROUGHT UP IN A CATHOLIC FAMILY. MY FUNDAMENTAL CONCERNS AS AN ARTIST ARE WITH NOTIONS OF RANDOMNESS AND ABSURDITY, CONCEPTS WHICH BEST DESCRIBE UNIVERSAL REALITY FOR ME AS AN INDIVIDUAL. THESE CONCEPTS ARE THE CORE OF WHAT I ATTEMPT TO EXPRESS IN MY ART. I FEEL MOST CLOSELY CONNECTED TO THE IDEAS OF THE DADA MOVEMENT, OF EARLY PERFORMANCE HISTORY, AND ESPECIALLY TO THE EXPERIMENTATION WHICH WENT ON DURING THE GERMAN PHASE OF THE BAUHAUS. MY ART IS ABOUT EXPERIMENTATION. IT IS ABOUT ABSURDITY. IT IS ABOUT RANDOMNESS. IT LENDS ITSELF MORE TO THE CONCEPTUAL TRADITION OF THE 20TH CENTURY ART WHICH IS PROBABLY WHY I WORK FAST AND WORK IN MANY DIFFERENT MEDIUMS ATTEMPTING TO EXPRESS THESE CONCEPTS, BE IT 3 X 100 FT. COLLAGE SCROLLS OR STAPLING ART TO TELEPHONE POLES OR PERFORMING ANONYMOUSLY IN A PUBLIC PARK OR PUTTING ARTWORK ON PUBLIC ACCESS TELEVISION, PAINTING FURIOUSLY OR USING JUNK AS COLLAGE MATERIAL; MY WORK IS QUICK AND ACCUMULATIVE AND DEFINITELY CONCEPTUAL. IT IS ALSO ABOUT THE IDEALISM OF ART, THE IDEA THAT ART IS TRANSFORMATIVE, HEALING, AND FUNDAMENTALLY HUMAN. SO THIS IS MY ARTIST'S STATEMENT. THANKS FOR READING IT. I AM FASCINATED BY HOW CATACLYSMIC EVENTS IMPACT LIFE. LIFE IS EPHEMERAL AND SUPERFICIAL REALITY AN ILLUSION. NO MATTER WHAT STEPS WE TAKE TO PROTECT OURSELVES AGAINST THREATS TO OUR SURVIVAL, THERE ARE ULTIMATELY NO GUARANTEES. WE WILL NEVER BE IN TOTAL CONTROL. HOWEVER, THIS DOES NOT ENTITLE US TO SIT IN THE BLEACHERS OF THE GAME OF LIFE, WAITING TO GET HIT BY A BALL. MY ART, AS THAT OF MOST ARTISTS, IS A RESPONSE TO MY ENVIRONMENT. THE INTERNET, NEWS PROGRAMS AND THE CONVERSATIONS BETWEEN FRIENDS AND STRANGERS ALL SERVE AS RAW MATERIALS FOR THE CREATION OF MY WORK. THE GREATEST EXCITEMENT FOR ME IS GENERATED BY SOLVING PROBLEMS ASSOCIATED WITH THE EXECUTION OF MY IDEAS. FINDING THE RIGHT INFORMATION, IMAGES, AND SELECTING THE MOST SUITABLE TECHNIQUE FOR REPRESENTING MY THOUGHTS IS WHAT GIVES MY DAY ITÕS MEANING. WOULD IT BE MORE EFFECTIVE TO USE HUMOR, SATIRE OR SHOCK TO ILLUSTRATE MY THOUGHTS? HOW CAN I CREATE THE MOST POWERFUL WORK TO REPRESENT THE FEELINGS OF MY SOUL? I DO NOT LIMIT MYSELF TO ANY ONE PARTICULAR MATERIAL OR FORM TO EXPRESS MY VIEWS. I SELECT WHATEVER I DEEM TO BE THE MOST SUITABLE MEDIUM OR FORMAT FOR THE EXPRESSION OF MY THOUGHTS AND THE CREATION OF THE STRONGEST WORK. I FEEL THAT IT IS MY RESPONSIBILITY AS AN ARTIST TO DO THIS IN THE HOPE OF TOUCHING THE HUMAN HEART AND PREVENTING THIS WORLD FROM CAREENING TOTALLY OUT OF CONTROL. I DO NOT SEE THE CREATION OF BEAUTY OR NOVELTY AS THE PRIMARY FUNCTION OF ART, BUT INSTEAD, FEEL THAT ART SHOULD ENGAGE THE HEART AND MIND, AND, THEREBY, HOPEFULLY CHANGE THIS WORLD INTO A MORE PEACEFUL ONE. A PORCELAIN ARTIST WITH A BS IN THE SCIENCES AND A MASTERS OF FINE ARTS, HAS BEEN A HIGH SCHOOL CHEMISTRY AND PHYSICS TEACHER FOR MORE THAN 25 YEARS. IN HIS EVOLVING OCTAHEDRAL PORCELAIN PROCESS, EFFORTLESSLY COMBINES ELEMENTS FROM BOTH THE SCIENCES AND THE ARTS. SEVEN YEARS IN ITS EVOLUTION, THIS APPROACH TO SCULPTING SPHERICAL PORCELAIN VESSELS FOCUSES ON COMBINING THE EXACTITUDE OF MEASUREMENT, THE MATHEMATICS OF THE SPHERE AND EXERCISES IN GEOMETRY WITH THE UNIQUE AESTHETICS OF EMBEDDED DESIGN. ART DRAWS ITS INSPIRATION FROM HIS ARABIC HERITAGE. HIS WORKS BRING TOGETHER IN THREE DIMENSIONS THE SAME SYMMETRICAL ELEMENTS THAT DEFINE THE BEAUTIFUL WORKS OF ISLAMIC SACRED ART. HISTORICALLY, ISLAMIC ARTISTS MASTERED THE APPLICATION OF MATHEMATICS TO PATTERNED TILINGS BECAUSE THEIR WORK COULD CONTAIN NO GRAVEN IMAGES. THESE INTERLACED DESIGNS EMBODY AN UNBROKEN RHYTHM, REGULARITY AND INTERWOVENNESS THAT ONLY SUCH ABSTRACT FORMS CAN CONVEY. FINISHED VESSELS INTRODUCE CURVATURE TO THE EMBEDDED DESIGNS, AT ONCE BOTH NATURAL AND ABSTRACT, BRINGING A NEW DIMENSION TO THE GEOMETRIC ART EXPERIENCE. DESIGNS, HOWEVER, UNLIKE TRADITIONAL ISLAMIC DESIGN, ALSO COMBINE BOTH CHAOS AND ORDER IN A SYMMETRICALLY UNIFIED "WHOLE." APPROACH TO DESIGN IN PORCELAIN ALSO DRAWS FROM THE WORKS OF OTHER ARTIST/SCIENTISTS IN HISTORY, MOST NOTABLY BUCKMINSTER FULLER, WHO EXPLORED THE ENERGETIC GEOMETRY OF THE SPHERE IN HIS "SYNERGETIC GEOMETRY" AND WAS BEST KNOWN AS THE INVENTOR OF THE GEODESIC DOME. AS HE BEGAN TO BRING BUCKY'S APPROACH FROM SYNERGETICS INTO HIS EFFORTS TO DIVIDE THE SPHERE, DEFINE THE PLANES OF TRUNCATION OF POLYHEDRA TO FORM MODULES AND TO RECOMBINE THE MODULES INTO NEW FORMS, THE MORE BEAUTIFUL AND HARMONIOUS THE RESULTING DESIGNS HAVE BECOME. THE EMBEDDED GEOMETRIC DESIGN PATTERNS OF THESE UNIQUE PORCELAIN VESSELS EMBODY MANY OF FULLER'S ELABORATIONS OF SYNERGETICS, A GEOMETRIC SYSTEM BASED ON HIS ATTEMPTS TO UNDERSTAND "NATURE'S DESIGN." EXAMINES THE EFFECTS OF TOTALITARIANISM, SURVEILLANCE, QUARANTINE AND ISOLATION, AND MUTATION ON BOTH THE VICTIMS OF SARS AND THOSE SPARED BY THE SCOURGE OF THIS AND OTHER DISEASES. HIS CONCLUSION: NO MATTER WHAT STEPS WE TAKE TO PROTECT OURSELVES AGAINST THIS DISEASE AND OTHER THREATS TO SURVIVAL, THERE ARE ULTIMATELY NO GUARANTEES. LIFE IS EPHEMERAL. WE WILL NEVER BE IN TOTAL CONTROL. HOWEVER, THIS DOES NOT ENTITLE US TO SIT IN THE BLEACHERS OF THE GAME OF LIFE, WAITING TO GET HIT BY A BALL. IN THE ÕS STUDIED PAINTING IN TAIPEI UNDER THE TUTELAGE OF THE CONTEMPORARY ARTIST, . FEELING CONFINED BY THE ARTISTIC ENVIRONMENT OF TAIPAI, IN 'S HE MOVED TO THE UNITED STATES WHERE HE STUDIED ART & DESIGN AT THE PARSONS SCHOOL OF DESIGN AND PRATT INSTITUTE. HE GRADUATED WITH A MASTERS DEGREE FROM PRATT. AT THE NEW SCHOOL, JOHN BRZOSTOSKI INTRODUCED TO THE PHILOSOPHY OF LAO-TSU. THIS HAD A PROFOUND EFFECT ON HIM AND HIS ART. FOR LAO TSU, THE ULTIMATE PARADOX CONCERNS THE NATURE OF REALITY ITSELF. HE REGARDED SUPERFICIAL REALITY AS AN ILLUSION. TRUE REALITY, IN HIS OPINION, IS HIDDEN FROM US BY OUR USE OF WORDS. LAO TSUÕS WORD FOR THIS HIDDEN REALITY IS ŅTAOÓ. CHIN CHIH BEGAN TO INCORPORATE TAOIST CONCEPTS INTO HIS PAINTINGS. IN THE LATE 90ÕS, ESTABLISHED 123SOHO.COM AS A LIBRARY OF CONTEMPORARY ARTISTS. HE SERVES AS THE CURATOR OF THE WEBSITE SINCE . CURRENTLY, 123SOHO HAS APPROXIMATELY ARTISTS. CHIN CHIH REGARDS 123SOHO AS A LIVING PIECE OF ART THAT CONTINUOUSLY EVOLVES. CHIN CHIHÕS FIRST IMAGE IN THIS SERIES IS ENTITLED ŅI AM READYÓ. IT WAS CREATED IN RESPONSE TO THE WAR ON AIDS IN , ADAPTED TO THE CRISIS GENERATED BY EVENTS OF 9/11, AND TAILORED TO THE IRAQ WAR. IT DEPICTS A MANÕS GENITALIA MODESTLY COVERED BY A WORLD WAR ONE GAS MASK. I BEGIN MY WORK WITH WHITE FABRIC BECAUSE I SEE ITS POSSIBILITIES. FABRIC CAN BE USED IN MANY DIFFERENT WAYS. IT IS AN OBEDIENT, FORGIVING MATERIAL. I WANT EVERY PROCESS AND TECHNIQUE THAT I USE TO CONTRIBUTE TO THE CONTENT OF MY WORK SO I DYE, PRINT AND PAINT MY OWN IMAGES. THE NATURE OF FABRIC IS THAT IT ACCEPTS COLOR AND SO IT IS MORE RESPONSIVE TO ME. I LIKE TO YIELD TO WHAT HAPPENS WITH THE PROCESS WHILE WORKING. FABRIC IS SENSUAL AND CAN BE MANIPULATED. IT CAN BE MADE TO HAVE WEIGHT, MASS, AND TEXTURE. IT CREATES ATMOSPHERE BY REFLECTING AND CHANGING ITS APPEARANCE IN LIGHT. FOR ME, THE RESULT IS A MATERIAL WITH THE POTENTIAL OF AN INFINITE EXPANSION OF EXPRESSION AND FORM. I PLACE MYSELF SOLIDLY IN A TEXTILE TRADITION AND BECAUSE OF THAT I FEEL FREE TO USE ANY TEXTILE TECHNIQUE THAT WOULD CONTRIBUTE TO MY WORK. I LOOK BACK IN HISTORY TO SEE WHERE I CAME FROM, BUT THE NEW COMES THROUGH MY EXPERIENCE OF WORKING. AS IT WAS WITH MY PREDECESSORS, THE EMBROIDERERS, QUILTERS AND LACE MAKERS WHO WORKED WITH FABRIC AND THREAD, TIME IS NOT A FACTOR WHEN I WORK. I DO NOT CHOOSE TO REJECT A TECHNIQUE SIMPLY BECAUSE IT IS LABORIOUS. I BASE MY WORK ON GEOLOGICAL RATHER THAN TV TIME. I AM OBSESSED WITH EVERY COLORED SPOT OF DYE AND HOW IT LOOKS NEXT TO ANOTHER COLORED SPOT. THE USE OF MY FABRICS HAS LED ME TO CREATE A BODY OF WORK THAT BEGINS FROM THE DYEING AND PRINTING OF THE FABRIC TO ITS CONSTRUCTION ON THE SEWING MACHINE. USING THE TECHNIQUE OF FREE-MOTION EMBROIDERY ON THE SEWING MACHINE HAS ALLOWED ME TO INTRODUCE TEXTURE AND LACE IN MY WORK, AND TO BUILD THE QUILTS IN A UNIQUE WAY. RATHER THAN CONSTRUCTING AND SEWING THEM IN THE TRADITIONAL WAY, I SEW THE WORK BY PIECING THE INDIVIDUAL ELEMENTS TOGETHER USING APPLIQU, QUILTING, SEWING MACHINE LACE AND EMBROIDERY. THE LACE WORK THAT JOINS THE PIECES TAKES ADVANTAGE OF THE RESULTING NEGATIVE SPACE. THIS ENABLES ME TO ELIMINATE THE BACKGROUND THAT IS USUALLY USED TO HOLD THE IMAGE TOGETHER. I WANT THE TECHNIQUE TO ENHANCE MY SUBJECT. WITH THE BASIC THEME OF PARADISE AND THE USE OF MY IMAGERY I AM ABLE TO USE THE VARIOUS FORMS OF PLANT LIFE, FLOWERS, VINES, STEMS, AND INSECTS. MY OBJECTIVE IS TO PRODUCE A SERIES OF QUILTS THAT ARE MOTIVATED BY METAPHORS OF PARADISE AND THE EVOCATIVE USE OF NATURE TO INSPIRE SPIRITUAL AND UPLIFTING FEELINGS. I WOULD LIKE TO PLACE MYSELF WITH THOSE ARTISTS WHO HAVE ESTABLISHED AN UNBROKEN HISTORY OF WORKS OF ART DEALING WITH THE THEME OF PARADISE. THE SUBJECTS THAT I WISH TO ADDRESS ARE LARGELY TRADITIONAL, SUCH AS TREES, GARDEN, FLOWERS, ANIMALS, FRUIT AND VEGETABLES. THESE VISUAL IMAGES OFFER ME ASSOCIATIONS WITH MANY LEVELS OF MEANING. JAPANESE SCREENS AND 1ST CENTURY ROMAN GARDEN ROOMS ARE HISTORICAL EXAMPLES THAT USE NATURE SYMBOLISM. THE WALL PAINTINGS IN IMPERIAL ROMAN GARDEN ROOMS OF THE LATE1ST CENTURY BC AND EARLY 1ST CENTURY AD WERE RICH WITH SYMBOLISM. IN THESE ROOMS PEOPLE COULD REFRESH THEIR MINDS WHILE CONTEMPLATING NATURE. THE SAME CONTEMPLATION WAS USED AS THE BASIS FOR JAPANESE SCREENS. THE IMAGES ON THE SCREENS WERE MEANT TO INSPIRE A FEELING FOR THE BEAUTY OF NATURE AND THE JAPANESE IDEA OF MONO-NO-AWARE, THE "PATHOS OF THINGS". I CHOOSE TREES, LEAVES, FLOWERS, FRUIT, VEGETABLES AND INSECTS FOR SIMILAR REASONS. I WANT TO CONSTRUCT THE CHARACTER OF NATURE AND PARADISE FROM ITS SMALLER PARTS. I ALSO WANT TO BRING PERPETUAL SUMMER INDOORS, THE COOL OF THE FOREST, THE HEAT IN THE MEADOW AND THE WHINE OF INSECTS IN THE GRASS. I CAN PAINT ON SITE FROM LIFE OR ENTIRELY FROM PHOTOGRAPHIC REFERENCE ALTHOUGH MY PREFERENCE IS TO USE A MIXTURE OF REFERENCE MATERIALS AND TECHNIQUES TO HEIGHTEN THE VISUAL RELATIONSHIP. I BEGIN WITH LIFE SITTINGS, GATHERING AS MUCH INFORMATION ABOUT THE CLIENT AND POSE AS IS NECESSARY. COMPOSITIONAL AND FEATURE SKETCHES AND COLOUR REFERENCE CHARTS ARE NOTED FOR ACCURACY AND A SERIES OF BLACK AND WHITE PHOTOGRAPHS ARE TAKEN FOR FORM AND STRUCTURE. I CARRY OUT MOST OF THE WORK IN MY STUDIO, WHICH OFTEN FAVOURS THE CLIENTÕS SCHEDULE AND PREVENTS THE DEVELOPMENT OF AN OVERLY SYMPATHETIC OR BIASED APPROACH ( THE FIRST IMPRESSION IS THE MOST ACCURATE ). FINALLY, I RETURN TO COMPLETE THE PORTRAIT FROM LIFE, USUALLY ONLY A FEW SITTINGS ARE NECESSARY AND AT THIS POINT THE CLIENT WILL BE ABLE TO GIVE ADVICE ON THE FINISHING TOUCHES. AFTER THE PAINTING HAS BEEN RESOLVED, I BUILD A FRAME AS A FINISH TO THE WORK AND TO ADD SUPPORT TO THE CANVAS, HOWEVER, IF A MORE ELABORATE FRAME IS MORE SUITABLE, I WOULD BE MORE THAN HAPPY TO OFFER MY OPINION. I SEPARATE PORTRAITURE FROM ART THE SAME WAY ONE WOULD WITH WORK AND PLAY. EVEN THOUGH I ENJOY BOTH EQUALLY, PORTRAITURE DEMANDS RESPECT, WHEREAS MY ART IS FOUNDED BY A PERSONAL, PSYCHOANALYTICAL EXPERIMENT, NO USE TO ANYONE AND GENERALLY PURCHASED BY NO ONE. THE COMMITMENT TO PORTRAITURE ENCOURAGES THE FRIVOLITY IN MY ART HOWEVER IT ENABLES ME TO AVOID EVER INCREASING COMMERCIAL POPULARITY. IN PORTRAIT PAINTING THE REPUTATIONS OF BOTH ARTIST AND CLIENT ARE IN THE BALANCE, THEREFORE COMPROMISE IS THE ONLY SOLUTION. HARMONY CAN BE FOUND BETWEEN THE PAINTERS IDEALISTIC AMBITION AND THE CLIENTÕS PERSONAL EXPECTATIONS. WE MUST USE AN INTUITIVE DISCRETION TO FIND SENSITIVITY, EMPATHY AND UNDERSTANDING, VIRTUES THAT FORM THE ESSENCE OF ANY SUCCESSFUL WORK. PORTRAITURE PROVIDES A SOCIAL PLATFORM ON WHICH ONE CAN ASPIRE TO BELONG, INTRODUCING EXAMPLES OF COMMON REALITY WITH INSPIRATIONAL POSSIBILITY. THE ARTIST IS THE MEDIUM, THE CONTROL ELEMENT NEEDED TO UNITE AND HAS THE UNIQUE ABILITY TO PROJECT THE POSITIVE ASPECTS OF DIFFERENCE AND ELIMINATE THE DISCRIMINATORY STIGMAS ATTACHED TO RACE, CLASS AND SEX. THE PORTFOLIO BECOMES A SOCIAL VOCABULARY UNIVERSALLY READ, UNDERSTOOD AND ACCEPTED BY ALL. I BUILD ELECTRONIC MACHINES THAT INTERACT WITH THEIR ENVIRONMENT. MY HOPE IS THAT THE ENVIRONMENT IS MADE UP OF PEOPLE OBSERVING AND CONTEMPLATING WHAT THEY ARE EXPERIENCING. AN OBSERVER IS ESSENTIAL TO WHAT I CREATE, AND IT IS THIS ACTIVE RELATIONSHIP BETWEEN OBJECT AND VIEWER THAT I STRIVE TO CALL INTO ATTENTION. BY MAKING THE OBSERVATION AND INTERACTION WITH OBJECTS THE FOCUS OF MY WORK I'M TRYING TO RE-THINK THE WAY I INTERACT WITH OBJECTS IN MY OWN ENVIRONMENT. I AM SELF TAUGHT IN THE FIELD OF ELECTRONICS AND EVERYTHING I BUILD IS A PERSONAL EXPLORATION INTO THE FUNCTIONING OF DEVICES OFTEN TAKEN FOR GRANTED. WHILE THE PRACTICAL FUNCTIONING OF THE DEVICES I CREATE OFTEN SEEM SIMPLE, THEY ARE FOR THE MOST PART CONSTRUCTED OUT OF RAW COMPONENTS AND CAN BE QUITE COMPLEX. FOR EXAMPLE, LET'S SAY A LIGHT BULB IS TRIGGERED TO FLASH WITH DIFFERENT PATTERNS DEPENDING ON WHETHER OR NOT A PERSON IS STANDING IN FRONT OF IT TRIGGERING A MOTION SENSOR. SIMPLE IN OPERATION BUT COMPLEX TO ACTUALLY BUILD. I ENJOY BUILDING INTERACTIVE DEVICES, AND I DERIVE A GREAT DEAL OF SATISFACTION FROM THE PROBLEM SOLVING AND TECHNICAL RESEARCH NECESSARY TO COMPLETE THEM. IT IS MY HOPE THAT WHEN PEOPLE EXPERIENCE MY WORK, THEY QUESTION BOTH THEIR UNDERSTANDING OF THE PIECE OF ART THEY ARE EXPERIENCING AND OF OTHER OBJECTS THEY INTERACT WITH DAILY. MASTER'S DEGREE IN FINE ARTS FROM THE GERRIT RIETVELD ACADEMY OF ART IN AMSTERDAM, WHERE SHE STUDIED PAINTING, DRAWING, GRAPHICS AND ART HISTORY. FOLLOWING HER FORMAL TRAINING, SHE UNDERTOOK EXTENSIVE TRAVELS TO COUNTRIES AS WIDESPREAD AS AUSTRALIA, NEW ZEALAND, POLYNESIA, JAPAN, CHINA, SOUTH AND CENTRAL AMERICA,AND HER EXPOSURE TO VARIED AND UNFAMILIAR CULTURES IS REFLECTED IN BOTH THE TECHNIQUE AND THE CONTENT OF HER WORK. ELEONORA TAMMES HAS EXHIBITED HER ARTWORK IN GALLERIES THROUGHOUT THE NETHERLANDS, SWITZERLAND, ENGLAND AND THE U.S.A. THE WORKS ON PAPER BY ELEONORA TAMMES ARE NON-FIGURATIVE. A RHYTHMIC BUILD-UP, THE SUGGESTION OF CHANGE, ORGANIC PROCESSES, FORM REPETITIONS AND STRUCTURES DOMINATE THE COMPOSITIONS. CENTRAL IS THE COMBINATION OF SHAPES AND LINE PATTERNS, COLOR SHADES AND MOVEMENT. CLOSE STUDY OF HER WORK REVEALS A FASCINATION WITH FORM AND PROPORTION. AS IF, FOR HER, PAINTING IS A MATTER AND MANNER OF RESEARCH INTO THE WAYS ELEMENTS OF FORM RELATE AND INTERACT WITH EACH OTHER. HER INTENTION IS TO DISCOVER AND EMPLOY THE INTERPLAYS OF LIGHT, SHAPE, COLOR AND STRUCTURE. NOT AS A GOAL IN ITSELF, BUT TO ACHIEVE AND EXPRESS DEEPER UNDER- STANDING OF WHAT MATTERS IN OUR OWN EXISTENCE. ELEONORA TAMMES INTERPRETS AND RENDERS THE INTRINSIC OF REALITY THROUGH A WAY OF WORKING THAT ENABLES HER TO LINK DISTANCE TO INTENSITY AND REPETITION TO DYNAMICS AND EVOLUTION. COMBINING PAINTING (ACRYLICS) AND DRAWING (PAINTMARKER), SHE GENERATES HER C |