| 20021006 | (untitled drawing) |
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| 20020720 | hills landscape loop electricity |
| 20020519 | ME AS A ROCK STAR
drawing |
| 20020719 | margritte window portrait |
| 20020520 | TWIN SUICIDE, 1995, WHITE LINEN SHEETS WITH FADED RED STAINS, WASHING LINE WITH 2 POLES
drawing |
| 20020801 | (untitled drawing) |
| 20020521 | CRIME SCENE, 1995, BED, RED PIGMENTS IN ACRYLIC BINDER AND LINSEED OIL
drawing |
| 20020731 | building body love |
| 20020522 | HELP, 1995, CAR BATTERIES, JUMPER LINES
drawing |
| 20020802 | (untitled drawing) |
| 20020523 | white cube spills frame frames |
| 20020803 | (untitled drawing) |
| 20020524 | cage clouds |
| 20020804 | (untitled drawing) |
| 20020525 | socket lead |
| 20020805 | (untitled drawing) |
| 20020526 | tap hose loop |
| 20020806 | (untitled drawing) |
| 20020527 | water reflection portrait |
| 20020807 | (untitled drawing) |
| 20020528 | UNTITLED, 1995 (ED.5), LABELED TIN, CONTAINING PAINT USED IN ARTOLL-LABOR INSTALLATION, GERMANY 1995 |
| 20020808 | (untitled drawing) |
| 20020529 | flies light attraction |
| 20020809 | (untitled drawing) |
| 20020530 | smoke magritte portrait |
| 20020810 | (untitled drawing) |
| 20020531 | light head portrait |
| 20020811 | (untitled drawing) |
| 20020601 | spill |
| 20020812 | (untitled drawing) |
| 20020602 | portrait fire |
| 20020813 | (untitled drawing) |
| 20020603 | portait chair painting |
| 20020814 | (untitled drawing) |
| 20020604 | portrait head skull floor |
| 20020815 | (untitled drawing) |
| 20020605 | aquarium teddy-bears water |
| 20020816 | (untitled drawing) |
| 20020606 | glass sand time |
| 20020817 | (untitled drawing) |
| 20020607 | portrait shaving cream floor lying |
| 20020818 | (untitled drawing) |
| 20020608 | car road accident sign infinity |
| 20020819 | (untitled drawing) |
| 20020609 | UNTITLED, 1996, STEEL FRAME, SOCCER SCARVES, TEDDY BEARS, INK ON PAPER
drawing |
| 20020820 | (untitled drawing) |
| 20020610 | white cube splll |
| 20020821 | (untitled drawing) |
| 20020611 | dummies abstract pit water |
| 20020822 | (untitled drawing) |
| 20020612 | rubbish trash spill |
| 20020823 | (untitled drawing) |
| 20020613 | white cube spill |
| 20020824 | (untitled drawing) |
| 20020614 | abstract painting spill blood |
| 20020825 | (untitled drawing) |
| 20020615 | eyes |
| 20020826 | (untitled drawing) |
| 20020616 | portrait black white socks |
| 20020827 | (untitled drawing) |
| 20020617 | AN INVISIBLE PROBLEM
drawing |
| 20020828 | (untitled drawing) |
| 20020618 | glasses reflection sinking drowning |
| 20020829 | (untitled drawing) |
| 20020619 | glass glasses cadburys chocolate spill |
| 20020830 | (untitled drawing) |
| 20020620 | swing child portrait |
| 20020831 | (untitled drawing) |
| 20020621 | coffee instant spill |
| 20020901 | (untitled drawing) |
| 20020622 | glasses reflection sinking spill |
| 20020902 | (untitled drawing) |
| 20020623 | reflection mirror portrait car |
| 20020903 | (untitled drawing) |
| 20020624 | white cube guard dusk |
| 20020904 | (untitled drawing) |
| 20020625 | guard day shadow spill |
| 20020905 | (untitled drawing) |
| 20020626 | glasses portrait reflection |
| 20020906 | (untitled drawing) |
| 20020627 | portrait gun monkey shadow child boy gumboots |
| 20020907 | (untitled drawing) |
| 20020628 | angel wing coat portrait man |
| 20020908 | (untitled drawing) |
| 20020629 | black white hat |
| 20020909 | ALL DREAMS ARE DOWN |
| 20020630 | aeroplane landing danger |
| 20020910 | (untitled drawing) |
| 20020701 | coat hidden hand black |
| 20020911 | (untitled drawing) |
| 20020702 | glass smile sad |
| 20020912 | (untitled drawing) |
| 20020703 | hat water spill |
| 20020913 | (untitled drawing) |
| 20020704 | liebherr water drown |
| 20020914 | (untitled drawing) |
| 20020705 | fire bush shadow |
| 20020915 | (untitled drawing) |
| 20020706 | (untitled drawing) |
| 20020916 | (untitled drawing) |
| 20020707 | hat egg |
| 20020917 | (untitled drawing) |
| 20020708 | white cube spill flood |
| 20020918 | (untitled drawing) |
| 20020709 | box hat head |
| 20020919 | (untitled drawing) |
| 20020710 | wheel hand car |
| 20020920 | (untitled drawing) |
| 20020711 | eye belly button |
| 20020921 | (untitled drawing) |
| 20020712 | rain line tree trees charred |
| 20020922 | (untitled drawing) |
| 20020713 | pond hat margritte float |
| 20020923 | (untitled drawing) |
| 20020714 | lie lying abstract painting |
| 20020924 | (untitled drawing) |
| 20020715 | trash rubbish blob |
| 20020925 | (untitled drawing) |
| 20020716 | glass cloud building |
| 20020926 | (untitled drawing) |
| 20020717 | reflection spill water blob |
| 20020927 | (untitled drawing) |
| 20020718 | abstract painting viewer |
| 20020721 | love hate fate fuck |
| 20020928 | (untitled drawing) |
| 20020722 | break line abstract game |
| 20020929 | (untitled drawing) |
| 20020723 | perfect peace |
| 20020930 | (untitled drawing) |
| 20020724 | tree trees cloud clouds |
| 20021001 | (untitled drawing) |
| 20020725 | white cube |
| 20021002 | (untitled drawing) |
| 20020726 | hat head line |
| 20021003 | (untitled drawing) |
| 20020727 | box abstract |
| 20021004 | (untitled drawing) |
| 20020728 | barrier entrance abstract |
| 20021005 | (untitled drawing) |
| 20020729 | home house shadow line |
| 20020730 | abstract building exhibition |
| 20021007 | (untitled drawing) |
| 20021008 | (untitled drawing) |
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| 20030220 | (untitled drawing) |
| 20030221 | (untitled drawing) |
| 20030222 | (untitled drawing) |
| 20030223 | 1 USED VOLKSWAGEN
30 POUNDS OF FAT
A DEAD COYOTE (SIGNED)
BLACBOARD AND CHALKS (WITH DUSTER)
DEAD HARE (HAIRS MISSING)
30 YRDS OF ROLLED FELT
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| 20030303 | (untitled drawing) |
| 20030304 | REACHING OUT, 2003, drawing |
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| 20030728 | IF I WAS HAPPIER THEN I MUST BE SADDER NOW |
| 20030729 | (untitled drawing) |
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| 20030915 | BRAVE, 2003, drawing |
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| 20030925 | copy |
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| 20030930 | books flying fly ezra pound eliot burgess auden james joyce walt whitman fucking |
| 20031001 | (untitled drawing) |
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| 20031005 | bottle booze red label |
| 20031006 | (untitled drawing) |
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| 20031025 | taranaki gate |
| 20031026 | (untitled drawing) |
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| 20031030 | hand drip paint |
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| 20031228 | THIN WHITE SCULPTURE, 2007, PACKET PIGMENT, ADHESIVE
drawing |
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| 20040107 | HIDDEN CITY, 2004, drawing |
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| 20040123 | (untitled drawing) |
| 20040124 | (untitled drawing) |
| 20040125 | (untitled drawing) |
| 20040126 | (untitled drawing) |
| 20040127 | (untitled drawing) |
| 20040128 | (untitled drawing) |
| 20040129 | (untitled drawing) |
| 20040130 | (untitled drawing) |
| 20040131 | (untitled drawing) |
| 20040201 | (untitled drawing) |
| 20040202 | (untitled drawing) |
| 20040203 | (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 |
| 20040205 | (untitled drawing) |
| 20040206 | (untitled drawing) |
| 20040207 | (untitled drawing) |
| 20040208 | (untitled drawing) |
| 20040209 | (untitled drawing) |
| 20040210 | (untitled drawing) |
| 20040211 | (untitled drawing) |
| 20040212 | (untitled drawing) |
| 20040213 | (untitled drawing) |
| 20040214 | YOUR TIME IS NOT YOUR OWN IF YOU CAN'T MUCK AROUND IN IT...
drawing |
| 20040215 | (untitled drawing) |
| 20040216 | ONE DAY YOU WAKE UP TO FIND YOUR BEARD IS GROWING SOMETHING OTHER THAN BEARD
drawing |
| 20040217 | (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 |
| 20040219 | (untitled drawing) |
| 20040220 | (untitled drawing) |
| 20040221 | (untitled drawing) |
| 20040222 | (untitled drawing) |
| 20040223 | (untitled drawing) |
| 20040224 | (untitled drawing) |
| 20040225 | (untitled drawing) |
| 20040226 | (untitled drawing) |
| 20040227 | SEVERAL UNTITLED GADGETS, 2010, POLYMERS, ELECTRONICS
drawing |
| 20040228 | (untitled drawing) |
| 20040229 | (untitled drawing) |
| 20040301 | HIS LAST WORK WAS MOST CERTAINLY HIS GREATEST
drawing |
| 20040302 | (untitled drawing) |
| 20040303 | (untitled drawing) |
| 20040304 | (untitled drawing) |
| 20040305 | (untitled drawing) |
| 20040306 | (untitled drawing) |
| 20040307 | (untitled drawing) |
| 20040308 | (untitled drawing) |
| 20040309 | WINES OF AUSTRALIA
drawing |
| 20040310 | (untitled drawing) |
| 20040311 | (untitled drawing) |
| 20040312 | TITLE DESCRIPTION DUE IN PRIORITY
drawing |
| 20040313 | DESPAIRING SRTIST, SMOKING
drawing |
| 20040314 | (untitled drawing) |
| 20040315 | (untitled drawing) |
| 20040316 | (untitled drawing) |
| 20040317 | NZNL SWEAR COUNT
drawing |
| 20040318 | (untitled drawing) |
| 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 |
| 20040320 | (untitled drawing) |
| 20040321 | (untitled drawing) |
| 20040322 | (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 |
| 20040324 | (untitled drawing) |
| 20040325 | GHOST, DOG, POULTRY, MAN, LIFE JACKET, MOSTLY CLOUDY |
| 20040326 | (untitled drawing) |
| 20040327 | (untitled drawing) |
| 20040328 | (untitled drawing) |
| 20040329 | (untitled drawing) |
| 20040330 | ADDING TO THE NZNL SWEAR COUNT
drawing |
| 20040331 | (untitled drawing) |
| 20040401 | (untitled drawing) |
| 20040402 | (untitled drawing) |
| 20040403 | (untitled drawing) |
| 20040404 | (untitled drawing) |
| 20040405 | A FLASH ANIMATION EMULATING SHRIGLEYS FULL STOP
AND I THOUGHT NET.ART WAS DEAD
drawing |
| 20040406 | O THE JOYS OF POWER STEERING, 2007, INSTALLATION VIEW |
| 20040407 | IT ONLY EVER RAINS ON ONE SIDE OF OUR HOUSE
drawing |
| 20040408 | (untitled drawing) |
| 20040409 | ALL THINGS MUST BE MADE CONCRETE
drawing |
| 20040410 | (untitled drawing) |
| 20040411 | (untitled drawing) |
| 20040412 | INVINCIBLE
drawing |
| 20040413 | CONTACT WITH THE DEAD, 2008, HEADPHONES, CUSTOM POWER GRID
drawing |
| 20040414 | (untitled drawing, ink jet and ink) |
| 20040415 | WHITE CUBE, 2010, ALUMINIUM, MILK GLASS
drawing |
| 20040416 | FAT HAT
drawing |
| 20040417 | DESKTOP, 2011, CUSTOM ALUMINIUM TABLE, PRINTED STICKIES
drawing |
| 20040418 | AT NIGHT, MY OTHER ME GETS UP TO WORK ON MY PROJECTS....
drawing |
| 20040419 | (untitled drawing) |
| 20040420 | SIGNALLING MORSE, 2011, ROBOTICS, ELECTRONICS, TABLE, VARIABLE SIZE, INSTALLATION VIEW
drawing |
| 20040421 | (untitled drawing) |
| 20040422 | 3 BLOBS IN THE PROCESS OF BECOMING WORKS OF ART, 2010,
drawing |
| 20040423 | (untitled drawing) |
| 20040424 | THE RETURN OF THE GRAF ZEPPELIN TO THE GRAVE OF HINDENBURGH
drawing |
| 20040425 | CUTTING EDGE ART
drawing |
| 20040426 | (untitled drawing) |
| 20040427 | CRYPTOGRAPHY, 2008, WHEELED WOODEN CASES, ROBOTICS, INTERNET CONNECTION, INVISIBLE INK
drawing |
| 20040428 | THE END OF THE WORLD AS WE KNOW IT
drawing |
| 20040429 | (untitled drawing) |
| 20040430 | ART GALLERY WALK, 2005 - 2010, WORN FLOORBOARDS (AMERICAN OAK) |
| 20040501 | LITTLE GEMS
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 |
| 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 |
| 20040504 | SLOW, 2010, OFFICE CHAIRS, ROBOTICS, ELECTRONICS, CUSTOM SOFTWARE, INTERNET CONNECTION QUERYING GOOGLE (CHAIRS MOVE SLOWLY TRACING FOUND TEXT), VARIABLE SIZE (INSTALLATION VIEW)
drawing |
| 20040505 | (untitled drawing) |
| 20040506 | (untitled drawing) |
| 20040507 | STOOPID ART, 2005, (LITTLE GO-CART WRITING THE NAMES OF MY HEROES ON THE GALLERY FLOOR) ELECTRONICS, RUBBER WHEELS,
drawing |
| 20040508 | (untitled drawing) |
| 20040509 | (untitled drawing) |
| 20040510 | ONE DAY, I HAD KNEES EVERYWHERE
drawing |
| 20040511 | (untitled drawing) |
| 20040512 | (untitled drawing) |
| 20040513 | (untitled drawing) |
| 20040514 | (untitled drawing) |
| 20040515 | (untitled drawing) |
| 20040516 | ONE DAY, THIS PILE OF RUBBLE WILL BECOME A MARVELOUS AND SUBLIME WORK OF ART
drawing |
| 20040517 | untitled drawing |
| 20040518 | untitled drawing |
| 20040519 | INSET, 2010, MASONRY AND PLASTER (INDENTED ABSTRACT) 80 X 120 INCHES |
| 20040520 | 2 ABSTRACT PAINTINGS, 2012, BRONZE, EACH 100 FT. |
| 20040521 | (untitled drawing) |
| 20040522 | GENERIC ABSTRACT, 2012, (EXPLODED VIEW) |
| 20040523 | POINTS OF INTEREST, SLIDE FROM THE SERIES SETTING YOURSELF UP FOR FALLS, 2011, DIGITAL PRESENTATION |
| 20040524 | REAL TEARS, STUDIED WITH SOME PRECISION (STUDIO FLOOR), GLASS, 2009, BITTER LIQUID, ISOMETRIC MESH |
| 20040525 | ONE DAY, I WILL BRANCH AWAY |
| 20040526 | (untitled drawing) |
| 20040527 | (untitled drawing) |
| 20040528 | FOUR MEN FALLING |
| 20040529 | ONE DAY, I WILL DO A DRAWING CALLED REAL DAWDLES |
| 20040530 | 3 EMPTY CALL-OUTS, 2008, GLASS, EACH 30CM |
| 20040531 | THE LAST THREE HAIRS OF THE CRITIC |
| 20040601 | ONE MANS FACE CHANGING IRREPAIRABLY OVER TIME |
| 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) |
| 20040603 | ONE DAY. I WILL FLY FEET FIRST |
| 20040604 | BUNGALOW PATTERN, 2009, GALVANTIZED STEEL, 32 X 27 X 16 |
| 20040605 | ONE DAY, I WILL EAT MY BETTER HALF |
| 20040606 | (untitled drawing) |
| 20040607 | NONE OF THESE IDEAS WILL EVER BE FINISHED WORKS |
| 20040608 | I'M AN ARTIST MY LINES DON'T HAVE TO BE STRAIGHT |
| 20040609 | SOME DAYS, I'D RATHER JUST DRAW WOMENS' BUMS |
| 20040610 | BLOB, 2012, POLYESTER RESIN, PIGMENTS, 12 X 8 X 8 INCHES |
| 20040611 | THREE TREES, 2010, FIBREGLASS, POLYESTER RESIN |
| 20040612 | YES, GREAT ART CAN GET THIS SMALL |
| 20040613 | ONE DAY, I WILL FEEL JUST HALF A MAN |
| 20040614 | (untitled drawing) |
| 20040615 | THREE-PRONGED DISASTER, 2009, INSTALLATION VIEW, MUHKA 2011, BOTTLE, GLASSES, KILLER ALE |
| 20040616 | SCIENCE FACT, ART FICTION, 2012, WOOD, STEEL, NYLON, CUSTOM ACRYLIC PAINT, MAGIC |
| 20040617 | 1ST NEVADA TO SCALE THE EVEREST |
| 20040618 | STAGE BLOOD, 2025, JARS, PIGMENTED GLYCERINE |
| 20040619 | (untitled drawing) |
| 20040620 | POINT, 2021, BRASS, 3 INCHES DIAMETER |
| 20040621 | LAND ART CONCEPTUALISM INSTALLATION ART FEMINIST GARBAGE FUCKING BORING ART |
| 20040622 | TODAY, I WISH I HAD GROWN A LARGE, WILDLY CURLING MOUSTACHE |
| 20040623 | ONE DAY, I WILL SEE EVERYTHING |
| 20040624 | |
| 20040625 | ONE DAY, WE WILL ALL BE SUCKED INTO A SMALL BLACK HOLE |
| 20040626 | ONE DAY, MY TWO PINTS WON'T MAKE YOUR QUART ANYMORE |
| 20040627 | -----, 2019 |
| 20040628 | ANY DOMESTIC PERIL MIGHT MAKE GREAT ART, 2008, BUCKET, WATER, POWER SUPPLY |
| 20040629 | ONE DAY, I |
| 20040630 | BORING INSTALLATIONS ALWAYS COME IN PAIRS, 2014, TWO ELECTRIC HOT WATER KATTLES BOILING HOT WATER |
| 20040701 | OUTDOOR SCULPTURE, 2010 |
| 20040702 | |
| 20040703 | INTERESTING ROOM, 2011, WIRE, COTTON, MASKING TAPE, ACRYLICS |
| 20040704 | AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAART |
| 20040705 | SOME DAYS I'D JUST AS SOON DRAW WOMENS' SHORT SKIRTS |
| 20040706 | 3 DOMESTIC HAZARDS, 2009, COPPER NAILS, INSULATION TAPE, COTTON |
| 20040707 | LOCH NESS, 2020, WALL SOCKET, COPPER WIRING, 60'S TOASTER (DONING NOTHING) |
| 20040708 | THE WORLDS 1ST RSS SCULPTURE, 2014, 2 LAPTOPS, PLYWOOD |
| 20040709 | SHEDDING LIGHT ON THINGS, 2009, THINGS, LIGHT |
| 20040710 | ONE DAY, MY DRAWINGS WILL PROTECT ME |
| 20040711 | ONE DAY, I WILL BE PURPOSELY LATE |
| 20040712 | CORNER PIECE, 2008, SOCKETS, PLUGS, WIRING |
| 20040713 | 12 SMOKING GUNS IN A NO SMOKING ZONE, 2009, REAL HANDGUNS, PISTOLS AND SHOOTING IRONS, ARTIFICIAL SMOKE |
| 20040714 | ONE DAY, I WILL SAY NOTHING MORE ELOQUENTLY THAN THE OTHER GUY |
| 20040715 | YOU SHOULD BE PUNISHED YOU ARE A BAD DRAWING |
| 20040716 | ONE DAY, I WILL VANQUISH (MOST OF) MY ENEMIES |
| 20040717 | (untitled drawing) |
| 20040718 | ONE DAY, MY LIFE WILL BE MULTI-DIMENSIONAL |
| 20040719 | SMALL REFUSE, 2010, CIGARETTE ASHES (MARLBORO, CAMEL, WINSTON, VIRGINIA SLIMS), BOOZE STAINS (BARCARDI, JIM BEAM, CROWN ROYAL, MYERS, PILSENER URQUELL, GUINNESS, STEINLAGER, LION) |
| 20040720 | art fart |
| 20040721 | lead tv viewer |
| 20040722 | GOING NOWHERE, DOING NOTHING, 2015, (A TREATISE ON ABSTRACTS) |
| 20040723 | WASTING A FUCKING GOOD BOTTLE OF BOOZE, 2009, GLASS BOTTLE, POLYESTER, PIGMENTS |
| 20040724 | (untitled drawing) |
| 20040725 | |
| 20040726 | 1ST ABSTRACT PAINTING TO SPAN (SLIGHTLY MORE THAN) THE UNIVERSE, 2012, |
| 20040727 | 3 I'S WITHPUT A DOT, 2005, GLASS, PIGMENTS |
| 20040728 | END GAME, 2020, DEAD RAT, WALL SOCKETS, COPPER WIRING, COTTON
|
| 20040729 | KICK ME, abstract painting |
| 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)
|
| 20040803 | (untitled drawing) |
| 20040804 | 5 SLICK FIGURES, 2007, REASONFORCED PLASTYSCENE (ONE OUT)
|
| 20040805 | (untitled drawing) |
| 20040806 | (untitled drawing) |
| 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
|
| 20040812 | (untitled drawing) |
| 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
|
| 20040819 | (untitled drawing) |
| 20040820 | (untitled drawing) |
| 20040821 | (untitled drawing) |
| 20040822 | (untitled drawing) |
| 20040823 | (untitled drawing) |
| 20040824 | (untitled drawing) |
| 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
|
| 20040829 | (untitled drawing) |
| 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)
|
| 20040903 | (untitled drawing) |
| 20040904 | (untitled drawing) |
| 20040905 | ONE DAY, I TURN WILL EYE BLIND
|
| 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 |
| 20040913 | (untitled drawing) |
| 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) |
| 20040918 | ART FOR ANY NUMBER OF MATCHBOXES, 2009, MATCHBOXES, ART |
| 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 |
| 20040927 | (untitled drawing) |
| 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 |
| 20040930 | ONE DAY, I WILL USE MY ARROW KEYS TO FLY AWAY |
| 20041001 | SHOOT ME, 2004, flash animation |
| 20041002 | (untitled drawing) |
| 20041003 | BURPING AND FARTING PAINTING, 2010, PAINTING, SOUND, ANIMATION |
| 20041004 | (untitled drawing) |
| 20041005 | (untitled drawing) |
| 20041006 | (untitled drawing) |
| 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) |
| 20041009 | (untitled drawing) |
| 20041010 | (untitled drawing) |
| 20041011 | ONE DAY, THE MAN WHO DIED LAUGHING WILL LAUGH DYING |
| 20041012 | (untitled drawing) |
| 20041013 | ONE DAY, MY LINE WILL BE MY LAST |
| 20041014 | PROJECT GROUP, 2010, APPLICATION PROGRAM |
| 20041015 | ARTIST'S GROANS, 2010, 45 RPM VINYL RECORD |
| 20041016 | ONE DAY, THERE WILL BE BLOOD ON MY HANDS |
| 20041017 | WHY WAS CUBISM SUCH A BIG DEAL?, 2010, HOT AIR BALLOON |
| 20041018 | POWER FROM WITHIN, 2010, TRAILING SOCKET, CABLE
|
| 20041019 | REPOSITORY, 2010 |
| 20041020 | PROPERTIES, FUNCTIONS, CONSTANTS, OPERATORS, OBJECTS |
| 20041021 | (untitled drawing) |
| 20041022 | (untitled drawing) |
| 20041023 | PROJECT SPACE, 2010, E-PRINT, 70 X 100 INCHES |
| 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
|
| 20041027 | (untitled drawing) |
| 20041028 | PRELIMINARY STUDY FOR A LOAD OF HEADS, 2010, HEADS
|
| 20041029 | FALL, 2010, SEA, BEACH, FALL
|
| 20041030 | CREATING ART, DRAWING AND PAINTING, (AND SOMETIMES WRITING), IS MY ULTIMATE CATHARSIS... |
| 20041031 | (untitled drawing) |
| 20041101 | CREATING ART, DRAWING AND PAINTING, (AND SOMETIMES WRITING), IS MY ULTIMATE CATHARSIS... |
| 20041102 | (untitled drawing) |
| 20041103 | (untitled drawing) |
| 20041104 | (untitled drawing) |
| 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 ÒTAOÓ. 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 ÒI 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 APPLIQUƒ, 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 ÒSQUARESÓ, 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 ÒTAOÓ. 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 ÒI 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 APPLIQUƒ, 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 ÒSQUARESÓ, 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. |
| 20041107 | 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 ÒTAOÓ. 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 ÒI 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 APPLIQUƒ, 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 ÒSQUARESÓ, 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. |
| 20041108 | (untitled drawing) |
| 20041109 | (untitled drawing) |
| 20041110 | LOOK WILL BREAK MY GUN |
| 20041111 | ONE WHOSE QUINTESSENTIALLY PAINT-SPATTERED PERSONA WILL BE
MUCH-COPIED AS A FORM OF ARTISTIC CACHET.
WILL BE OUTLINE CACHET.
FORM FORM A ARTISTIC AS WILL BE THANK ARTISTIC BE CACHET. A FORM CACHET.
WILL WILL BE SUMMARIZE QUINTESSENTIALLY WHOSE ARTISTIC FORM CACHET. WILL BE GREET CACHET.
MUCH-COPIED CACHET.
WILL BE FORM BE WILL BE ENTER WHOSE SUMMARIZE CACHET. CACHET.
WILL BE ARTISTIC FORM OUTLINE PERSONA ARTISTIC FORM WILL WILL BE PROCEED ENTER ARTISTIC CACHET.
WILL QUINTESSENTIALLY WHOSE CACHET.
WILL WILL BE SORT ARTISTIC ARTISTIC WILL A CACHET.
MUCH-COPIED ARTISTIC BE WILL BE MULTIPLY AS FORM WILL BE STRAIGHTEN WILL QUINTESSENTIALLY
MUCH-COPIED QUINTESSENTIALLY ARTISTIC MUCH-COPIED CACHET. WILL BE CHART BE FORM WHOSE WHOSE WILL BE BRUSH ARTISTIC ARTISTIC WILL WILL ARTISTIC WILL BE WILL BE PLACE BE A PERSONA WHOSE WILL FORM BE ARTISTIC WILL BE OUTLINE BE BE WILL BE WHOSE WILL BE TRANSLATE WHOSE FORM STRAIGHTEN BE ARTISTIC ARTISTIC WILL BE INVITE BE FORM BE WILL WILL BE EDIT SORT ARTISTIC BE BE AS ENTER WHOSE BE WILL BE PRESS BE BE WILL AS BE ARTISTIC WILL BE PASS WILL ARTISTIC BE A BE WILL BE GROW BE EDIT WILL WILL CACHET.
CACHET.
WILL THANK WILL WILL WILL BE WEIGH ARTISTIC WILL WILL ARTISTIC AS A CACHET.
WILL WILL BE FASTEN FORM WILL |
| 20041112 | WILL BREAK MY SONG |
| 20041113 | WILL BREAK MY SONG |
| 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 |
| 20041120 | (untitled drawing) |
| 20041121 | (untitled drawing) |
| 20041122 | (untitled drawing) |
| 20041123 | ONE DAY, THE BLOB WILL RETURN |
| 20041124 | SOMEONE, SOMETIME,SOMEPLACE, 2010, WEBSITE |
| 20041125 | (untitled drawing) |
| 20041126 | DAS KUNSTSCHIFF |
| 20041127 | THE FALL |
| 20041128 | (untitled drawing) |
| 20041129 | ONE DAY, I WILL CLOSE MY OPEN ENDS |
| 20041130 | FAMOUS SHORT STORIES, 2010, (DETAIL) |
| 20041201 | (untitled drawing) |
| 20041202 | .... STUDIES FOR AN ABSTRACT PAINTING, 2010, OIL ON CANVAS, 6' X 8' |
| 20041203 | SHOW, 2010 |
| 20041204 | YOU WALKED INTO A WHITE CUBE AND WOULDN' T KNOW WHERE THE ART WAS |
| 20041205 | (untitled flash movie) |
| 20041206 | (untitled flash movie) |
| 20041207 | 10 PROVISIONAL HEADS, BRONZE, 2025, (ON ISS MUSEUM) |
| 20041208 | blobs ink blob |
| 20041209 | 5 INEPT BLOBS, 2025, ACRYLICS, INSTALLATION IN NASA'S ORBITING MUSEUM |
| 20041210 | HOEHERE MAECHTE BEFAHLEN RECHTER OBERECKE WEISS MAHLEN |
| 20041211 | ONE DAY, I WILL CLARIFY EVERYTHING |
| 20041212 | (untitled drawing) |
| 20041213 | (untitled drawing) |
| 20041214 | (untitled drawing) |
| 20041215 | (untitled drawing) |
| 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 |
| 20041219 | (untitled drawing) |
| 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 |
| 20041223 | (untitled drawing) |
| 20041224 | YOU CAN'T BREAK UP WHEN YOUR BREAKING DOWN, 2010, ABANDONED STUDIO, BLOBS |
| 20041225 | ONE DAY, I COULD BE BIG |
| 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 |
| 20041227 | STUDY FOR AN INSTALLATION ART PIECE, 2010, RED INK, MAP OF RUSSIA, TRAVEL SPEAKERS PLAYING "HERR CHRIST, DER EINIG GOTTES SOHN" |
| 20041228 | PLAN FOR 13 PIECES ON PEDESTAL, 2010, PLYWOOD, ACRYLICS |
| 20041229 | STUDY FOR A PIECE ON THE GENERATION OF MEANING, 2012, WEB PAGE |
| 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 |
| 20041231 | (untitled drawing) |
| 20050101 | PLAN FOR A SHOW FOR 5295 PEOPLE, MARVELLING, 2010, WHITE CUBE, PLASTER OF PARIS |
| 20050102 | bench waste basket white cube |
| 20050103 | (nine empty spaces)(white cube)
fireworks file found images |
| 20050104 | (three empty spaces)
quicktime movie |
| 20050105 | PLAN FOR AN 'AFTER THE PARTY' INSTALLATION PIECE, 2010, POLYMERES, ACRYLICS, FOUND OBJECTS |
| 20050106 | (untitled flash movie)
flash movie |
| 20050107 | UNTITLED ELECTRICAL SCULPTURE, 2010, 2-WAY TRAILING SOCKET, BEATEN COPPER |
| 20050108 | (untitled drawing) |
| 20050109 | (untitled drawing) |
| 20050110 | SOME DAY, I SHOULD DO MORE DRAWINGS ABOUT SMOKING |
| 20050111 | UNTITLED ELECTRIC SCULPTURE, 2010, TRAILING SOCKETS |
| 20050112 | (untitled flash movie)
flash movie |
| 20050114 | (untitled drawing) |
| 20050115 | UUNTITLED TITLES, 2010, HEADS, TITLES, WHITE CUBE, RED BLOOD
drawing |
| 20050116 | REPOSITORY,2010 |
| 20050117 | PLAN FOR A HUGE BLOB, 2010, MODEL OF AMSTERDAM AND ENVIRONS, HUGE BLOB |
| 20050118 | STUDY FOR A LARGE BLOB, 2010, FINISHED POLYESTER, VARIABLE DIMENSIONS |
| 20050120 | TWO SMALL SCULPTURES, 2010, POLYSTERENE, COPPER, ACRYLICS
|
| 20050121 | STUDY FOR THE MAIN HALL OF THE NZNL.COM MUSEUM, 2010, DUROX, PLASTER OF PARIS, ACRYLIC LATEX |
| 20050122 | THE MEAN END BETTER THAN THE ULTIMATE GAIN, 2010, WHITE CUBE, SOME PLASTERWORK REMOVED |
| 20050123 | (untitled flash movie) |
| 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 |
| 20050127 | 8 DUMMY PAINTINGS BY OTHER ARTISTS, 2010, PLASTER OF PARIS, ACRYLICS
drawing |
| 20050128 | (untitled flash movie) |
| 20050129 | (untitled flash movie) |
| 20050130 | PLAN FOR AN INSTALLATION INCLUDING SEVERAL DEAD BODIES, 2010, STUFFED COTTON, WHITE CUBE
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 |
| 20050201 | MOVE BLUE BALLS PLACE RED BALL ON BLUE BALL AND PRESS THIS TEXT
flash movie |
| 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 |
| 20050203 | ABSTRACT CANVAS, 2010, ACRYLIC ON CANVAS, 24 X 24
fireworks file |
| 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... |
| 20050218 | LOST IN SPACE
drawing |
| 20050219 | ONE DAY, I WILL COMMUNICATE WITH EVERYONE AND HAVE THEIR WEALTH FLOW THROUGH
keynote file converted to jpeg |
| 20050220 | ONE DAY, I WILL BE YOUR DODO
|
| 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 |
| 20050224 | CUSTOM POWER, 2011, GENERATOR, LEADS, SOCKETS, PLUGS
keynote file converted to jpeg |
| 20050225 | PLAN FOR A BODY OF WORK, 2009
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 |
| 20050308 | PLAN FOR A SHOW BUT NO PLAN FOR ART, 2008, FLOOR PLAN, NO ART
keynote file converted to jpeg |
| 20050309 | ANOTHER STUDY FOR A TALK, 2008, CUSTOM - BUILT PORTABLE CD PLAYER, CD(TALK)
drawing |
| 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 |
| 20050312 | WHEN I PREPARE MY SERMON I FIRST BUILD MY PULPIT, 2008, PLYWOOD, ACRYLICS, ACCESSORIES
drawing |
| 20050313 | MAKING A PILE, 2007, REAL DOLLAR BILLS, AMOUNTING TO ABOUT $3.000.000,-
fireworks file with googled image, converted to jpeg |
| 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 |
| 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 |
| 20050318 | LATE, 2008, WHITE CUBE, NO SHOW
fireworks file converted to jpeg |
| 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 |
| 20050322 | ARTISTS STUDIO, 2008, STEPLADDERS, LARGE ABSTRACT PAINTING
fireworks file converted to jpeg |
| 20050323 | ONE DAY, I WILL SHOOT MY HERO XXX TIMES
flash movie |
| 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 |
| 20050326 | (untitled flash movie) |
| 20050327 | (untitled drawing) |
| 20050328 | MOST PEOPLE ARE SCARED OF BECOMING SLEEPING PILLS, 2008, TV, PILLS
drawing |
| 20050329 | IF I WERE RICH I WOULD BUY THE IMPORTANT ART I SEE ON TV
flash movie |
| 20050330 | SOME DAYS. THINGS JUST WON'T COME TOGETHER
flash movie |
| 20050331 | THE WEEK OF WICKED DRAWINGS (OR AT LEAST NAUGHTY) |
| 20050401 | IF I WHERE TO MAKE VIDEO ART I WOULD USE PORNOGRAPHIC CONTENT, 2008, TV'S, PORN |
| 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 |
| 20050407 | A WHITE CUBE CAN WEAR ANYTHING, 2008, WHITE CUBE, MAGIC LIGHT EFFECTS |
| 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) |
| 20050412 | DEAD PAINTERS EXHIBITION, 2009, PERFORMANCE; BODIES (LIVE), STAGE BLOOD, WHITE CUBE |
| 20050413 | (untitled web page) |
| 20050414 | IF I WERE AN ARTIST I WOULD BE LOOKING FOR SUBJECT MATTER (EVERYWHERE)
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 |
| 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 |
| 20050425 | WHAT TO DO WITH MARC QUINNS SELF AFTER A POWER FAILURE, 2008, BRITART ICON WORK (OR AT LEAST PART OF IT)
fireworks file |
| 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 |
| 20050428 | PLAN FOR AN EXECUTION OF THE PIECE MERZBAU ON MARCH 3RD 2008 AT THE MUZIEKGEBOUW AAN T IJ, AMSTERDAM
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 |
| 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 |
| 20050519 | EVERY CUBE NEEDS MUZAK, 2009, WHITE CUBE, AMBIENT SOUND, USER INDUCED
flash movie |
| 20050520 | TIMELINE, 2009, PERFORMANCE FOR 5 NZNL.COM WORKERS
image map |
| 20050521 | PLAN FOR A BIOGRAPHY OF NZNL.COM WORKER #1, 2009, INSTALLATION
image map |
| 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 |
| 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 |
| 20050527 | ONE DAY, NZNL.COM ART WILL BE SHOWN IN THE WORLDS MOST IMPORTANT MUSEUMS
fireworks file with googled images
|
| 20050528 | PLAN FOR A PORTRAIT OF THE ARTIST AS HYPERLINK (MANIFESTO)
javascript |
| 20050529 | PLAN FOR AN ABSTRACT PAINTING, 2009, (EH JIMPUNK, EH, EH)
javascript, php |
| 20050530 | ONE DAY, MY WORDS WILL BE DRAWN TOGETHER |
| 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 |
| 20050603 | PLAN FOR A SHOW OF THE WORLDS MOST STUPID DRAWINGS, 2008, WHITE CUBE, STUPID DRAWINGS
image map
|
| 20050604 | PLAN FOR A SET STAGE, 2008, STAGE SET, WHITE CUBE
fireworks file |
| 20050605 | PLAN FOR A DRIP PAINTING, 2009,
php, javascript |
| 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 |
| 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 |
| 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 |
| 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) |
| 20050616 | PLAN FOR A DISHARMONIC PIECE FOR THE NZNL.COM WIND ENSEMBLE, 2009, (FAILED)
flash movie |
| 20050617 | ONE DAY, I SHOULD PROCLAIM A NEXT NEW MEDIUM
fireworks file |
| 20050618 | INSTALLATION INCLUDING LOUD SOUNDS, 2009, WHITE CUBE, LOUD SOUNDS
flash movie |
| 20050619 | STUDY FOR FLOORBOARDS, 2009, WHITE CUBE IN RUINS (BUILDING RUINS IS BUILDING TOO)
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 |
| 20050623 | ÿþI 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
|
| 20050624 | PLAN FOR A WRIGGLY LINE, 2008, WRIGGLY LINE
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 |
| 20050627 | ONE MORE WRIGGLY LINE, 2009, WRIGGLY LINE
flash movie |
| 20050628 | ANOTHER GRAMMAR OF POWER, 2009, PERFORMANCE
flash movie |
| 20050629 | PLAN FOR A DRAWING ON THE ISO PAPER SIZE CONCEPT, 2009
flash movie |
| 20050630 | ONE DAY, I WILL LET MY MACHINE DO MY SCREAMING
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 |
| 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 |
| 20050714 | (untitled flash movie) |
| 20050715 | TWO CUBES, 2009, PERFORMANCE FOR TWO WHITE CUBES
flash movie |
| 20050716 | WISH LIST, 2009
web page |
| 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 |
| 20050720 | PLAN FOR A NZNL.COM PAVILION IN THE VIENNA NEW MEDIA MUSEYROOM, 2009, CARDBOARD, PHOTOGRAPHS, PASTE
flash movie |
| 20050721 | THREE LARGE PIXELS, 2009, C-PRINTS EACH 100 X 100 CM
fireworks file |
| 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 |
| 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 |
| 20050827 | STUTTER, 2009, PERFORMANCE FOR NZNL.COM WORKER #1 (LOVE, HATE, FATE, FAIL)
flash movie |
| 20050828 | RAT, 2009, WHITE CUBE, RAT
fireworks file |
| 20050829 | THREE ITEMS OF POSSIBLE INTEREST, 2009, WHITE CUBE, ITEMS
fireworks file |
| 20050830 | PLAN FOR SOMETHING BETWEEN SINKING AND SWIMMING, 2009, THIN LIQUID SCULPTURES, WHITE CUBE
fireworks file |
| 20050831 | TWO SMALL BOXES, MYSTERIOUSLY CONNECTED, 2009, WHITE CUBE, BLACK BOXES, WIRELESS NETWORKING
fireworks file |
| 20050901 | PLAN FOR AN INSTALLATION ON ART AS A BATTLEFIELD, 2009, WHITE CUBE, MACHINE GUN, STUFFED DOLL RESEMBLING MARCEL BROODTHAERS
fireworks file |
| 20050902 | REPOSITORY, 2009, CUBICLE, ARCHIVE CABINETS, DEAD BODY
fireworks file |
| 20050903 | A LANDSCAPE SETTING FOR THE NZNL.COM EXHIBITION HALL, 2009, MODEL OF THE NZNL.COM EXHIBITION HALL AND ENVIRONS
fireworks file |
| 20050904 | ABSTRACT PAINTING, 2009, WHITE CUBE, SPECTATOR, ABSTRACT PAINTING
fireworks file |
| 20050905 | STUDY FOR A WORK ON FLOATING BODIES, 2009, BODY, FLOATING
flash movie |
| 20050906 | PLAN FOR AN NZNL.COM EXHIBITION HALL IN THE HEART OF AUSTRALIA, 2009, MODEL, AUSTRALIA
fireworks file |
| 20050907 | ANOTHER STUDY FOR BODIES, 2009, BODIES, FLOATING
flash movie |
| 20050908 | PORTRAIT STUDY, 2009, (PORTRAITS OF NZNL.COM WORKER #2, NZNL.COM WORKER #3, NZNL.COM WORKER #4)
fireworks file |
| 20050909 | STUDY FOR A NZNL.COM EXHIBITION HALL PORTAL, 2009, MODEL OF THE NZNL.COM EXHIBITION HALL ENTRANCE
flash movie |
| 20050910 | STUDY FOR A MOVING BODY, 2009, BODY, MOVING |
| 20050911 | MODEL OF THE NZNL.COM EXHIBITION HALL AT THE CHINATI FOUNDATION SITE, 2009, MANSANA DE CHINATI, MARFA, TEXAS
fireworks file |
| 20050912 | HALF-PIPE, 2009, INSTALLATION WITH ABSTRACT PAINTING AND HALF-PIPE
fireworks file |
| 20050913 | AN EARLY EXAMPLE OF INTERACTIVE ARCHITECTURE, 2009, SATELLITE VIEW OF THE NZNL.COM EXHIBITION HALL INSTALLED AT THE CHINATI FOUNDATION
flash movie |
| 20050914 | PLAN FOR A TEMPORARY NZNL.COM HALL, MARFA, TEXAS, 2009, ACRYLICS AND PLASTER
fireworks file |
| 20050915 | PLAN FOR A PERFORMANCE FOR FOUR NZNL.COM WORKERS AT THE CHINATI FOUNDATION, 2009, MARFA, TEXAS
fireworks file |
| 20050916 | PLAN FOR A SITE FOR THE NZNL.COM EXHIBITION HALL IN THE MIDDLE OF NEW YORK, 2009, EMPTY SECTION, MODEL, WEEDS
fireworks file |
| 20050917 | INSIDE/OUTSIDE (STUDY FOR A NZNL.COM HALL NATURAL LIGHT PLAN), 2009, WHITE CUBE, LANDSCAPE
fireworks file |
| 20050918 | STUDY FOR A FLOATING BODY, 2009, BODY, FLOATING
flash movie |
| 20050919 | BODY, 2009, BODY
flash movie |
| 20050920 | CUBE, 2009, CUBE
flash movie |
| 20050921 | STUDY FOR A MODEL OF THE NZNL.COM EXHIBITION HALL, 2009, WHITE CUBE, MODEL, MAGIC PROPULSION
flash movie |
| 20050922 | PAST TENSE, PRESENT TENSE, FUTURE TENSE, 2009, PERFORMANCE FOR 3 NZNL.COM WORKERS
flash movie |
| 20050923 | MODEL OF THE NZNL.COM EXHIBITION HALL, 2009, WHITE CUBE, PLYWOOD, ACRYLICS, PLASTER OF PARIS
fireworks file |
| 20050924 | PLAN FOR A NZNL.COM RELIC CABINET, 2009, WHITE CUBE, GLASS, STEEL, PLYWOOD, ACRYLICS
fireworks file |
| 20050925 | WHITE CUBE, NO ART, 2009, WHITE CUBE (YOU WALKED INTO A WHITE CUBE AND YOU DIDN'T KNOW WHERE THE ART WAS)
fireworks file |
| 20050926 | PLAN FOR A PERFORMANCE OF VITO ACCONCI S SEEDBED, 2009, 2 NZNL.COM WORKERS (ONE HIDDEN) MICROPHONE, SPEAKER, WHITE CUBE
fireworks file |
| 20050927 | PLAN FOR A PERFORMANCE OF DAVID ROSENBOOMS MYOGENIC TRANSMISSION (1969), 2009, WHITE CUBE, 3 NZNL.COM WORKERS, ELECTROMYOGRAM MONITORS, ELECTRONIC MUSIC, COMPUTER GENERATED IMAGERY
fireworks file |
| 20050928 | PLAN FOR A REENACTMENT OF YVES KLEINS FALL, 2009, WHITE CUBE, NZNL.COM WORKER #1 FALLING
fireworks file |
| 20050929 | 3 NZNL.COM WORKERS POSING WITH 3 BLOBS, 2009, WHITE CUBE, NZNL.COM WORKERS, BLOBS
fireworks file |
| 20050930 | RELATION, ATTENTION, ADAPTATION, 2009, PERFORMANCE FOR ONE OR MORE NZNL.COM WORKERS (AFTER VITO ACCONCI)
fireworks file |
| 20051001 | PLAN FOR A DESERTION, 2009, WHITE CUBE, DESERTED
fireworks file |
| 20051002 | IN SEARCH OF THE MIRACULOUS, 2009, INSTALLATION (AFTER BASJAN ADER)
fireworks file |
| 20051003 | STUDY FOR A ROOM, 2009, WHITE CUBE, BLINKY PALERMO PAINTING
fireworks file |
| 20051004 | PLAN FOR A DAY AT THE NZNL.COM GALLERY, 2009, WHITE CUBE, ABSTRACT PAINTING
fireworks file |
| 20051005 | STUDY FOR A MARC ROTHKO SHOW AT THE NZNL.COM GALLERIES, 2009, PERFORMANCE FOR A WHITE CUBE, 4 LARGE MARC ROTHKO PAINTINGS AND 2 NZNL.COM WORKERS
fireworks file |
| 20051006 | PLAN FOR A SET OF RULES REGARDING THE MOVING OF ABTRACT PAINTINGS, 2009, PERFORMANCE FOR 5 NZNL.COM WORKERS
flash movie |
| 20051007 | STUDY FOR A SMALL ROOM, 2009, PLYWOOD, NEON, FITTINGS
fireworks file |
| 20051008 | MY PLAN IS A COPY OF YOUR FUTURE, 2009, PERFORMANCE FOR NZNL.COM WORKER #1
fireworks file |
| 20051009 | PLAN FOR A COPY OF NZNL.COM WORKER #1, 2009, PERFORMANCE
fireworks file |
| 20051010 | JUST WHAT IS IT THAT MAKES TODAY S HOMES SO DIFFERENT SO APPEALING, 2009, (AFTER RICHARD HAMILTON)
fireworks file |
| 20051011 | NZNL.COM LECTURE HALL, 2009, PLYWOOD, ACRYLICS |
| 20051012 | CODE FOUNTAIN, 2009, WHITE CUBE, ROCKS, CODE
fireworks file |
| 20051013 | CODE FOUNTAIN, 2009, VARIABLE SPILL
flash movie |
| 20051014 | (untitled flash movie) |
| 20051015 | ABSTRACT PAINTING, 2009, PLYWOOD, ACRYLICS, PLASTER OF PARIS
fireworks file |
| 20051016 | PLAN FOR A ROMANTIC RENDERING OF THE NZNL.COM ARCHIVE, 2009, WHITE CUBE, PLYWOOD, ACRYLICS, LIGHTING PLAN
fireworks file from googled image |
| 20051017 | LIGHTING PLAN, 2009, DIAGRAM
fireworks file, googled image |
| 20051018 | PLAN FOR A LIGHTING SCHEME FOR THE NZNL.COM ARCHIVES, 2009, WHITE CUBE, LIGHTING
fireworks file |
| 20051019 | MODEL OF THE NZNL.COM ARCHIVES INCLUDING THE NZNL.COM EXHIBITION AREA, 2009, PLASTER OF PARIS, ACRYLICS
fireworks file |
| 20051020 | PLAN FOR A COMMUNING OF SPIRITS, 2009, WHITE CUBE, MEETING TABLE, WINDOW.OPEN
fireworks file |
| 20051021 | PLAN FOR A PERFORMANCE WHEREBY NZNL.COM WORKER#1 SENSES FINITY, 2009, PERFORMANCE PLAN
fireworks file |
| 20051022 | PLAN FOR A BURIAL GROUND, 2009, LANDSCAPE, BURIED NZNL.COM TIME CAPSULES
googled image with caption |
| 20051023 | PLAN FOR A RECONSTRUCTION OF THE MEETING BETWEEN BARNETT NEWMAN AND BETTY PARSONS IN 1943, 2009, PERFORMANCE FOR 3 NZNL.COM WORKERS
idraw file |
| 20051024 | PLAN FOR A RECONSTRUCTION OF ALLAN KAPROWS 18 HAPPENINGS IN 6 PARTS, 2009, PERFOMANCE FOR A NUMBER OF NZNL.COM WORKERS
idraw file, googled images |
| 20051025 | MUDDLED PLAN FOR A PIECE ON A NUMBER OF SURREALIST ARTISTS, 2009
idraw, rita, googled images |
| 20051026 | PLAN FOR A SHOWING OF THE FIRST FOUR ABSTRACT PAINTNGS HAPPENED UPON, 2009, WHITE CUBE, ABSTRACT PAINTINGS
idraw, rita, fireworks, with googled images |
| 20051027 | PLAN FOR AN NZNL.COM ENVIROMENTAL ARCHITECTURE, 2009, MODEL
rita, fireworks, googled images |
| 20051028 | PLAN FOR A PIECE ON ART 1970, 2009, WHITE CUBE, HYPERLINKS
fireworks file |
| 20051029 | ABSTRACT PAINTING, 2009, OIL ON CANVAS, 6FT 3IN X 8FT 2IN
fireworks file
|
| 20051030 | ANOTHER PLAN FOR A NZNL.COM IMAGE GENERATOR, 2009, SOFTWARE DESIGN
converted keynote file |
| 20051031 | PLAN FOR A RECONSTRUCTION OF MARC ROTHKOS CHAPEL AT THE NZNL.COM EXHIBITION HALL, 2009, WHITE CUBE, PLASTER OF PARIS, PLYWOOD, ARCYLICS
fireworks, photoshop |
| 20051101 | MODEL OF THE NZNL.COM EXHIBITION HALL (DETAIL), 2009, PLYWOOD, PLASTER OF PARIS, ACRYLICS
fireworks file |
| 20051102 | PRELIMINARY STUDY FOR A PLAN FOR A WORK ON PLATOS CAVE, 2009, STEEL RODS, PLASTER OF PARIS, ACRYLICS, VICKS VAPORUB
fireworks file, googled images |
| 20051103 | PRELIMINARY MODEL OF NZNL.COM WORKER #1, INCLUDING WORKCLOTHES, 2009
fireworks file, googled images |
| 20051104 | ANOTHER STUDY FOR A PORTRAIT OF NZNL.COM WORKER #1, 2009
flash movie |
| 20051105 | PLAN FOR A FIRST PERSON SHOOTER, 2009, PERFORMANCE FOR NZNL.COM WORKER #1
rita, fireworks |
| 20051106 | ANOTHER PLAN FOR A FIRST PERSON SHOOTER, 2009, PERFORMANCE FOR NZNL.COM WORKER #1 AND BARNETT NEWMAN |
| 20051107 | PLAN FOR A MULTI-LEVEL LAYOUT (WITH TARGETS), 2009, PERFORMANCE FOR THE NZNL.COM EXHIBITION HALL
flash movie |
| 20051108 | (untitled flash movie) |
| 20051109 | (untitled flash movie) |
| 20051110 | (untitled flash movie) |
| 20051111 | (untitled flash movie) |
| 20051112 | SMALL BLOB RIDDING ITSELF OF MEANING, 2009, PERFORMANCE FOR A SMALL BLOB
flash movie |
| 20051113 | STUDY FOR A TAUTOLOGY, 2009, TAUTOLOGY STUDY
web page |
| 20051114 | YET ANOTHER STUDY FOR A FIRST PERSON SHOOTER, 2009, PERFORMANCE FOR NZNL.COM WORKER #1 AND A SHOOTER
flash movie |
| 20051115 | STUDY FOR AN ABSTRACT PAINTING, 2009, STUDY, PAINTING
flash movie
|
| 20051116 | STUDY FOR A VISIT TO THE STUDIO OF THOMAS HUBER, 2009, WHITE CUBE, PLYWOOD, STEEL, STAINED COTTON
fireworks file |
| 20051117 | STUDY FOR A FLAT MEANINGLESS WORK, 2009, WHITE CUBE, STAINED COTTON, MAGICAL SUSPENSION
fireworks file |
| 20051118 | STUDY FOR A GATHERING OF ANGELS, 2009, WHITE CUBE, PLYWOOD, ANGELS
web page |
| 20051119 | STUDY FOR A WORK ON THE UNGRACIOUS TIME, 2009, WHITE CUBE, VIDEO PROJECTION
fireworks file |
| 20051120 | STUDY FOR A PERFORMANCE FOR AN ABSTRACT PAINTING MOMENTS BEFORE THE ARRIVAL OF THE FIRST VISITORS, 2009, PERFORMANCE FOR ABSTRACT PAINTING #1 |
| 20051121 | LIGHTING EFFECTS, 2009, WHITE CUBE, COLOURED SPOTLIGHTS
fireworks file |
| 20051122 | COMPUTER STAND, 2009, COMPUTER STAND
fireworks file |
| 20051123 | STUDY FOR A SIDE GALLERY, 2009, MODEL OF THE NZNL.COM EXHIBITION HALL
fireworks file |
| 20051124 | TAUTOLOGY STUDY, 2009, TAUTOLOGY STUDY |
| 20051125 | STUDY FOR A SCENE IN THE NZNL.COM EXHIBITION HALL, 2009, NZNL.COM EXHIBTION HALL SCENE STUDY
fireworks file |
| 20051126 | STUDY FOR A CORNER PIECE (AFTER DAN FLAVIN), 2009, FLUORESCENT LIGHTING
fireworks file |
| 20051127 | STUDY FOR A FISH-EYE VIEW, 2009, NZNL.COM EXHIBITION HALL, FISH-EYE VIEW |
| 20051128 | STUDY FOR A PILE, 2009, WHITE CUBE, PILE
fireworks file |
| 20051129 | STUDY FOR A TALK, 2009, TALK STUDY
fireworks file |
| 20051130 | ONE, 2009, ONE
fireworks file |
| 20051201 | CHAIR, 2009, CHAIR
photoshop/fireworks file |
| 20051202 | THREE ABSTRACT PAINTINGS, 2009, WHITE CUBE, ABSTRACT PAINTINGS
photoshop/fireworks file |
| 20051203 | (untitled flash movie) |
| 20051204 | (untitled flash movie) |
| 20051205 | CITATION, RECITATION, 2009, PERFORMANCE FOR NZNL.COM WORKER #1
photoshop/fireworks file |
| 20051206 | WALL SOCKET, 2009, WALL SOCKET
photoshop/fireworks file |
| 20051207 | DAAN VAN GOLDEN PAINTING, 2009, DAAN VAN GOLDEN PAINTING
photoshop/fireworks file |
| 20051208 | 100 DRAWINGS, 2009, 100 DRAWINGS
photoshop/fireworks file |
| 20051209 | SPILL, 2009, SPILL
fireworks file |
| 20051210 | SPILL, 2009, SPILL
web page |
| 20051211 | BAD WORD SPILL, 2009, BAD WORD SPILL
web page |
| 20051212 | CAMPBELLS SOUP CAN SPILL, 2009, CAMPBELLS SOUP CAN SPILL
web page |
| 20051213 | 1 MINUTE TO 12, 2009, 1 MINUTE TO 12
web page |
| 20051214 | TIME SPILL, 2009, TIME SPILL
web page |
| 20051215 | PRELIMINARY STUDY FOR A WORK ON THE POST-WAR PERIOD, 2009, STUDY
web page |
| 20051216 | STUDY FOR A RECONSTRUCTION OF THE FIRST INTERNATIONAL DADA FAIR, 2009, WHITE CUBE, PROPS
photoshop/fireworks file |
| 20051217 | STUDY FOR A WORK ON THE POST-WAR PERIOD, 2009
web page |
| 20051218 | STUDY FOR A WORK ON THE SECOND AVANTGARDE AS VICTIMS OF WORLD WAR I, 2009, PASTEBOARD AND CUT-OUTS ON CANVAS, 83 X 117 INCHES
fireworks file |
| 20051219 | CORNER PIECE, 2009, CORNER
photoshop/fireworks file |
| 20051220 | CORNER CASE, 2009, CASE STUDY
fireworks file |
| 20051221 | PLAN FOR A PERFECTLY FLAT WORLD, 2009, TRIPTICH
fireworks file |
| 20051222 | NOT HERE NOT NOW, 2009, EVENT PLANNED FOR THE NEAR FUTURE
photoshop/fireworks file |
| 20051223 | ALL MY KEYS, 2009, ALL MY KEYS
web page |
| 20051224 | GLIMPS, 2009, GLIMPSE
photoshop/fireworks file |
| 20051225 | SNAIL, 2009, SNAIL
photoshop/fireworks file |
| 20051226 | GOOGLE SEARCH, 2009, GOOGLE SEARCH
web page (nusoap.php script) |
| 20051227 | STUDY FOR AN ABSTRACT, 2009, DOWNLOADABLE
web page, dummy |
| 20051228 | PLAN FOR A CONVERSATION BETWEEN BARNETT NEWMAN AND LEV MANOVICH, 2009, PERFORMANCE FOR 2 NZNL.COM WORKERS IN THE NZNL.COM CONFERENCE ROOM |
| 20051229 | MOUNTAIN, 2009, MOUNTAIN
web page |
| 20051230 | ZEROED, 2009, ZEROED DISK, WHITE CUBE (STUDY FOR ABSTRACT)
photoshop/fireworks file |
| 20051231 | STUDY FOR A POINT, 2009, POINT
web page |
| 20060101 | UNTITLED ABSTRACT, 2010, UNTITLED ABSTRACT
web page |
| 20060102 | STUDY FOR THE NZNL.COM EXHIBITION HALL, 2010, PLASTER OF PARIS, LIGHTING EFFECTS, 210 X 297 CM (DETAIL)
photoshop/fireworks file |
| 20060103 | STUDY FOR A TALK ON BARNETT NEWMAN, 2010, (YVE-ALAIN BOIS)
web page |
| 20060104 | INTERLUDE, 2010, INTERLUDE
web page |
| 20060105 | EXHIBITION, 2010, WHITE CUBE, ABSTRACTS
photoshop/fireworks file |
| 20060106 | STUDY FOR A RENDERING OF VIR HEROICUS SUBLIMIS (LIFE SIZE), 2010, VIR HEROICUS SUBLIMIS
web page |
| 20060107 | DATA MOUNTAIN, 2010, MOUNTAIN
web page |
| 20060108 | HOW DOES IT FEEL TO BE TEN FEET TALL?, 2010, STUDY FOR A TALK ON BARNETT NEWMANS FAMILY HERITAGE
web page |
| 20060109 | STUDY FOR A TALK ON BARNETT NEWMANS FAMILY HERITAGE, 2010, SLIDE
keynote file converted to jpeg |
| 20060110 | STUDY FOR A TALK ON BARNETT NEWMAN, 2010, (FAMOUS WORDS)
web page |
| 20060111 | STUDY FOR A FOAF LIST FOR BARNETT NEWMAN, 2010, FRIEND-OF-A-FRIEND LIST
keynote file converted to jpeg |
| 20060112 | STUDY, 2010, STUDY
googled image/fireworks file |
| 20060113 | SEVERAL ABSTRACTS, 2010, ABSTRACTS
web page |
| 20060114 | CAPSULE, 2006, CAPSULE
photoshop/fireworks file |
| 20060115 | STUDY FOR A LARGE NUMBER OF ABSTRACT PAINTINGS, 2010, STUDY
web page |
| 20060116 | INTERFACE, 2010, WHITE CUBE, ABSTRACT PAINTING, LIGHTING
photoshop/fireworks file |
| 20060117 | ARCHIVE, 2010, NZNL.COM EXHIBITION HALL, ARCHIVE
photoshop/fireworks file |
| 20060118 | THREE DOWN, 2010, THREE DOWN
photoshop/fireworks file |
| 20060119 | FILTER FOUNDRY, 2010, WHITE CUBE, LIGHTING EFFECTS
photoshop/fireworks file |
| 20060120 | INTERLUDE, 2010, INTERLUDE
web page |
| 20060121 | INTERLUDE, 2010, INTERLUDE
photoshop/fireworks file |
| 20060122 | WE WHO WATCH, 2010, STUDY FOR A STAGE (EVENT IN THE NZNL.COM EXHIBITION HALL)
photoshop/fireworks file |
| 20060123 | (del.icio.us) |
| 20060124 | GLARE, 2010, GLARE
photoshop/fireworks file |
| 20060125 | I AM BARNETT NEWMAN, 2010, EXAMPLE OF AN OBJECT-ORIENTED GRAMMAR
web page |
| 20060126 | STUDY, 2010, STUDY
web page |
| 20060127 | BODIES, 2010, BODIES
photoshop/fireworks file |
| 20060128 | PLAN FOR AN IMAGE OF THE NZNL.COM EXHIBITION HALL WATER SUPPLY IN JAVASCRIPT, 2010, STUDY FOR A SOFTWARE DESIGN
converted keynote file |
| 20060129 | STUDY FOR A JAVASCRIPT FAUCET, 2010, PLAN FOR A JAVASCRIPT WATER SYSTEM, DETAIL
web page |
| 20060130 | WATER CLOSET, 2010, WATER CLOSET
photoshop/fireworks file |
| 20060131 | SEEPAGE, 2010, SEEPAGE
photoshop/fireworks file |
| 20060201 | JAVASCRIPT SEEPAGE, 2010, JAVASCRIPT SEEPAGE
web page |
| 20060202 | |
| 20060203 | MODEL OF THE NZNL.COM EXHIBITION HALL PROJECTED IN THE PACIFIC OCEAN, 2010, MODEL, PACIFIC OCEAN
fireworks file |
| 20060204 | STUDY FOR A WORK ON WATER FLOW AS METAPHOR, 2010, WATER SYSTEM DIAGRAM, WORKFLOW DIAGRAM
converted keynote file |
| 20060205 | MAKING A POINT, 2010, POINT TO MAKE
web page |
| 20060206 | GRAMMAR OF SHOWING, 2010, INSTALLATION
photoshop/fireworks file |
| 20060207 | THE NZNL.COM EXHIBITION HALL BEARING THE WOUNDS OF CHRIST. 2010, WHITE CUBE, ACRYLICS
fireworks file |
| 20060208 | STIGMATA, 2010, WHITE CUBE, STIGMATA
photoshop/fireworks file |
| 20060209 | MEMORY LEAK, 2010
web page |
| 20060210 | FOUNDATION, 2010, FOUNDATION
tagged image |
| 20060211 | FOUNDATION, 2010, FOUNDATION
converted keynote file |
| 20060212 | FOUNDATION, 2010, FOUNDATION
web page |
| 20060213 | PROVISIONAL HEAD, 2010, CONCRETE, STEEL
fireworks file |
| 20060214 | 3 STUDIES FOR A FOUNDATION FOR THE NZNL.COM EXHIBITION HALL, 2010, CONCRETE |
| 20060215 | NZNL.COM EXHIBITION HALL FOUNDATION, 2010, FOUNDATION
web page |
| 20060216 | FOUNDATION, 2010, FOUNDATION
photoshop/fireworks file |
| 20060217 | FOUNDATION, 2010, FOUNDATION
web page |
| 20060218 | ROOM, 2010, ROOM
photoshop/fireworks file |
| 20060219 | FOUNDATION PROBLEM, 2010, INSTALLATION AT THE NZNL.COM EXHIBITION HALL BUILDING SITE
fireworks file |
| 20060220 | STUDY FOR A DETAIL OF THE NZNL.COM EXHIBITION HALL, 2010, DETAIL
photoshop/fireworks file |
| 20060221 | PROVISIONAL HEAD, 2010, INSTALLATION AT THE NZNL.COM EXHIBITION HALL CAR PARK
photoshop/fireworks file, googled image |
| 20060222 | 3 RELICS, 2010, PLYWOOD, PLASTER OF PARIS, ACRYLICS
photoshop/fireworks file |
| 20060223 | INTERLUDE, 2010, INTERLUDE
web page |
| 20060224 | INTERLUDE, 2010, INTERLUDE
web page |
| 20060225 | STUDY FOR A LOCATION FOR THE NZNL.COM EXHIBITION HALL, 2010, NZNL.COM AUDITORIUM, PLASTER OF PARIS. ACRYLICS. STEEL, ELECTRONICS
web page with googled animation |
| 20060226 | PLAN FOR THE GRAND OPENING OF THE NZNL.COM EXHIBITION HALL, 2010, EVENT DIAGRAM
keynote file with googled image |
| 20060227 | BIRDS-EYE VIEW OF THE NZNL.COM HISTORY GENERATOR, 2010, PERFORMANCE FOR 3 - 5 NZNL.COM WORKERS
photoshop/fireworks file |
| 20060228 | RITUAL BURNINGS, 2010, NZNL.COM WORKERS, BLACKLISTED NZNL.COM DRAWINGS
photoshop/fireworks file |
| 20060301 | STUDY FOR A COUP D'ETAT, 2010, PERFORMANCE FOR 5 NZNL.COM WORKERS IN THE NZNL.COM BOARD ROOM
photoshop/fireworks file |
| 20060302 | POLITICAL LIFE AT NZNL.COM REPRESENTED AS AN OBJECT-ORIENTATED PROGRAMMING LANGUAGE, 2010, EVENT IN THE MAIN NZNL.COM EXHIBITION HALL
keynote file |
| 20060303 | BLACKLISTING, 2010, SQL QUERY ON THE NZNL.COM REPOSITORY |
| 20060304 | FLAT ORGANIZATIONAL SYSTEM FOR NZNL.COM MODELLED AFTER THE INTERNET, 2010, TALK BY NZNL.COM WORKER #1 IN THE NZNL.COM AUDITORY
web page |
| 20060305 | DUST TRAIL, 2010, PLAN FOR A DUST TRAIL OVER THE NZNL.COM EXHIBITION HALL
web page
|
| 20060306 | BLACKLISTING TOOL, 2010, BUILD YOUR OWN NZNL.COM BLACKLIST
web page |
| 20060307 | CHAPEL, 2010, PERFORMANCE FOR 5 - 10 NZNL.COM WORKERS
photoshop/fireworks file |
| 20060308 | GUN ROOM, 2010, NZNL.COM GUN ROOM
fireworks file |
| 20060309 | BURIAL, 2010, WHITE CUBE, PERFORMANCE FOR A SMALL CROWD
photoshop/fireworks file |
| 20060310 | PRODUCTION CHAMBER, 2010, PERFORMANCE FOR 5 - 7 NZNL.COM WORKERS
fireworks file |
| 20060311 | NZNL.COM SPACE STATION, 2010, MOCKUP SPACE STATION
web page |
| 20060312 | FABRIC, 2010, WHITE CUBE, JAVASCRIPT LOOM, PERFORMANCE FOR 5 - 7 NZNL.COM WORKERS |
| 20060313 | INTERLUDE, 2010, INTERLUDE
web page |
| 20060314 | STUDY FOR A PORTRAIT OF NZNL.COM WORKER #1, 2010, JAVASCRIPT PORTRAIT
web page |
| 20060315 | ANOTHER STUDY FOR A PORTRAIT OF NZNL.COM WORKER #1, 2010, JAVASCRIPT PORTRAIT
web page |
| 20060316 | VIEW OF THE NZNL.COM COMMUNAL BOOKCASE, 2010, NZNL.COM EXHIBITION HALL LIBRARY, DETAIL
web page |
| 20060317 | PLAN FOR A NZNL.COM WORKER ASSEMBLY HALL, 2010, INSTALLATION
web page
|
| 20060318 | LIGHT STUDY, 2010, STUDY FOR AN EVENT IN THE NZNL.COM EXHIBITION HALL
photoshop/fireworks file |
| 20060319 | SCRATCH, 2010, STUDY FOR AN EVENT IN THE NZNL.COM EXHIBITION HALL
photoshop/fireworks file |
| 20060320 | SURVEILLANCE, 2010, INSTALLATION INCLUDING SIX MOTION-SENSITIVE CAMERAS
photoshop/fireworks file |
| 20060321 | STUDY FOR A PORTRAIT OF NZNL.COM WORKER #1, 2010, INSTALLATION
web page |
| 20060322 | DECISION TABLE WITH COFFEE MACHINE, 2010, INSTALLATION IN THE NZNL.COM BOARD ROOM (ARE WE GOING OPEN SOURCE?)
fireworks file |
| 20060323 | INFIGHTING, 2010, EVENT IN THE SIDE ROOM (FOR 2 - 3 NZNL.COM WORKERS)
photoshop/fireworks file |
| 20060324 | INTERLUDE, 2010, INTERLUDE
photoshop/fireworks file |
| 20060325 | INTERLUDE, 2010, INTERLUDE
photoshop/fireworks file |
| 20060326 | DISCUSSING THE OPEN SOURCE PROJECT TIMELINE, 2010, PERFORMANCE FOR 3 - 5 NZNL.COM WORKERS
photoshop/fireworks file |
| 20060327 | STUDY FOR A VIEW OF THE NZNL.COM CAMPUS, 2010, STUDY
photoshop/fireworks file |
| 20060328 | STUDY FOR THE NZNL.COM EXHIBITION HALL MERCHANDISING POINT, 2010, STUDY
photoshop/fireworks file |
| 20060329 | SKYLIGHT, 2010, SKYLIGHT
photoshop/fireworks file |
| 20060330 | BOOT SEQUENCE, 2010, STUDY FOR THE NZNL.COM EXHIBITION HALL BOOT SEQUENCE |
| 20060331 | BOOT SEQUENCE, 2010, NZNL.COM EXHIBITION HALL METAPHOR
converted keynote file |
| 20060401 | WRITING A PETER HALLEY, 2010, PETER HALLEY CONDUIT PAINTING IN JAVASCRIPT
web page |
| 20060402 | THE NZNL.COM EXHIBITION HALL IS NOT AN OBJECT, IT'S A RELATIONSHIP, 2010, TALK IN THE NZNL.COM MAIN AUDITORIUM
photoshop/fireworks file |
| 20060403 | STUDY FOR AN ENTRANCE, 2010, NZNL.COM EXHIBITION HALL COMMAND PROMPT |
| 20060404 | WRECKERS, 2010, INSTALLATION IN THE NZNL.COM CAR WRECKERS YARD |
| 20060405 | SERVER ROOM, 2010, STUDY FOR THE NZNL.COM SERVER ROOM
fireworks file |
| 20060406 | SALLE PACIFIQUE, 2010, STUDY FOR THE PACIFIC WING OF THE NZNL.COM EXHIBITION HALL
fireworks file |
| 20060407 | INTERLUDE, 2010, INTERLUDE
photoshop file |
| 20060408 | CODING THE NZNL.COM EXHIBITION HALL API, 2010, VIEW OF THE NZNL.COM EXHIBITION HALL CAMPUS
photoshop file with googled image |
| 20060409 | NZNL.COM EXHIBITION HALL API PROGRESS BAR, 2010, API STUDY
web page |
| 20060410 | STUDY FOR THE NZNL.COM EXHIBITION HALL WINDOWING SYSTEM, 2010, (3 UNTITLED ABSTRACTS)
web page |
| 20060411 | LOADING THE NZNL.COM EXHIBITION HALL, 2010, NZNL.COM EXHIBITION HALL SYSTEM ICON
web page |
| 20060412 | FAMOUS FIRST WORDS, 2010, STUDY FOR A RENDERING OF THE NZNL.COM EXHIBITION HALL
web page |
| 20060413 | MORE FAMOUS FIRST WORDS, 2010, ANOTHER STUDY FOR A RENDERING OF THE NZNL.COM EXHIBITION HALL APPLICATION
web page |
| 20060414 | NZNL.COM EXHIBITION HALL API PROGRESS BAR, 2010, ANOTHER NZNL.COM EXHIBITION HALL API STUDY
web page |
| 20060415 | SCREENSAVER, 2010, NZNL.COM EXHIBITION HALL WORKSTATION SCREENSAVER
web page |
| 20060416 | STATEMENT, 2010, NZNL.COM EXHIBITION HALL STATEMENT
web page |
| 20060417 | 3 METAPHORS, 2010, THREE METAPHORS FOR THE NZNL.COM EXHIBITION HALL
fireworks file |
| 20060418 | NZNL.COM EXHIBITION HALL METAPHOR, 2010, STUDY FOR THE NZNL.COM EXHIBITION HALL AS ARCHITECTURE
photoshop/fireworks file |
| 20060419 | NZNL.COM EXHIBITION HALL, 2010, STUDY FOR A METAPHOR FOR THE NZNL.COM EXHIBITION HALL
fireworks file |
| 20060420 | NZNL.COM EXHIBITION HALL ENTRANCE, 2010, SOFTWARE MODEL
omnigraffle file |
| 20060421 | SKETCH FOR THE ENTRANCE TO THE NZNL.COM EXHIBITION HALL, 2010, GUI STUDY
web page |
| 20060422 | INTERLUDE, 2010, INTERLUDE
web page |
| 20060423 | INTERLUDE, 2010, INTERLUDE
photoshop/fireworks file |
| 20060424 | THE BUD DISAPPEARS WHEN THE BLOSSOM BREAKS THROUGH, 2010, INSTALLATION IN THE NZNL.COM EXHIBITION HALL
web page |
| 20060425 | PLAN FOR A SOFTWARE ARCHITECTURE FOR THE NZNL.COM EXHIBITION HALL, 2010, SOFTWARE PLAN
web page |
| 20060426 | PLAN FOR A NZNL.COM EXHIBITION HALL USER EXPERIENCE, 2010, NAVIGATION PLAN
web page |
| 20060427 | ADDING TO THE NZNL.COM EXHIBITION HALL METAPHOR, 2010, STUDY FOR A TECHNICAL DRAWING
web page |
| 20060428 | INTERLUDE, 2010, INSTALLATION (LARGE SKY-LIT STUDIO ADDED TO THE REAR)
web page |
| 20060429 | INTERLUDE, 2010, INTERLUDE
photoshop/fireworks file |
| 20060430 | ALL MY CLOTHES, 2010, NZNL.COM EXHIBITION HALL REPOSITORY
web page |
| 20060501 | LONG GRASS, 2010, STUDY FOR THE LONG GRASS AROUND THE NZNL.COM CAMPUS
web page |
| 20060502 | TWO SMALL SPILLS, 2010, SPILLS
photoshop file |
| 20060503 | PERSPECTIVE STUDY, 2010, STUDY
photoshop file |
| 20060504 | STUDY FOR BLOB, 2010, STUDY
web page |
| 20060505 | SPILL, 2010, SPILL
web page |
| 20060506 | PROBLEMS IN IDENTIFYING, 2010, STUDY FOR NZNL.COM WORKER #1
web page |
| 20060507 | STUDY FOR A FACE FOR NZNL.COM WORKER #1, 2010, STUDY
flash movie |
| 20060508 | FURTHER INVESTIGATIONS INTO THE INTERFACE AND PROPERTIES OF NZNL.COM WORKER #1, 2010, STUDY
flash movie |
| 20060509 | INTERLUDE, 2010, INTERLUDE
fireworks/photoshop file |
| 20060510 | NZNL.COM EXHIBITION HALL IN LANDSCAPE, 2010, LANDSCAPE, NZNL.COM EXHIBITION HALL MODEL
fireworks file |
| 20060511 | INTESTINAL FRANTICALLY, 2010, PLAN FOR A NZNL.COM EXHIBITION HALL SEWAGE SYSTEM
fireworks file |
| 20060512 | TRANSISTOR DIAGRAM, 2010, NZNL.COM EXHIBITION HALL TRANSISTOR DIAGRAM
fireworks file |
| 20060513 | UNTITLED INTERLUDE, 2010, (PORTRAIT OF NZNL.COM WORKER #2 AS DATABASE CONNECTION)
web page |
| 20060514 | STUDY FOR A DARK CLOUD ABOVE THE NZNL.COM EXHIBITION HALL, 2010, INTERACTIVE STUDY
web page |
| 20060515 | UNDERGROUND, 2010, STUDY FOR A NZNL.COM EXHIBITION HALL SEWAGE SYSTEM
photoshop/fireworks file |
| 20060516 | HYPOSTASIS (NZNL.COM EXHIBITION HALL ENTERING SELF-CONSCIOUSNESS), 2010, PERFORMANCE FOR THE NZNL.COM EXHIBITION HALL
web page |
| 20060517 | UNDERGROUND CONNECTIONS (AFTER RENE DANIELS), 2010, NZNL.COM EXHIBITION HALLS, CONNECTIONS |
| 20060518 | FACE, 2010, FACE
web page |
| 20060519 | CUBE, 2010, CUBE
quartz composer quicktime movie (mac os 10.4 only) |
| 20060520 | WALL SOCKET, 2010, PLASTER OF PARIS, ACRYLICS
fireworks/photoshop file |
| 20060521 | NOTES ON AN INSTALLATION FOR ALAN SONDHEIM, 2010, TV SCREENS, COMPUTERS, COMPUTER MONITORS, NETWORKING CABLING, POWER LEADS
web page |
| 20060522 | READING ALAN SONDHEIM, 2010, FURTHER NOTES FOR AN INSTALLATION
web page |
| 20060523 | 8 TVS (FOR ALAN), 2010, 8 TVS
fireworks/photoshop file |
| 20060524 | INTERLUDE, 2010, INTERLUDE
web page |
| 20060525 | SOME FACTS ABOUT AN ELECTRICAL INSTALLATION, 2010, TRAILING SOCKET, LEAKAGE
photoshop file |
| 20060526 | INTERLUDE, 2010 INTERLUDE
fireworks/photoshop file |
| 20060527 | NOTES ON AN INSTALLATION INCLUDING A DISCARDED TV SET, 2010, CARDBOARD RECTANGLE, BACKGROUND PHOTOGRAPHY
web page |
| 20060528 | SOME NOTES ON FRAMING, 2010, NZNL.COM EXHIBITION HALL PERFORMANCE STUDY
web page |
| 20060529 | SOME IDEAS ON OUR RELOCATION, 2020, TEMPORARY NZNL.COM EXHIBITION HALL, 2, 3 AND 4 LETTER WORDS
web page |
| 20060530 | SIMPLE SEARCH, 2010, SIMPLE SEARCH
web page
|
| 20060531 | STUDY FOR A LIST, 2010, LIST
web page |
| 20060601 | PLAN FOR A TUMBLER, 2010, JAVASCRIPT TUMBLER
web page |
| 20060602 | WALL SOCKET, 2010, JAVASCRIPT WALL SOCKET
web page |
| 20060603 | TRAILING SOCKET AND PLUG, 2010, JAVASCRIPT TRAILING SOCKET AND PLUG
web page |
| 20060604 | NZNL.COM OBJECT HIERARCHY, 2010, NZNL.COM OBJECT HIERARCHY DIAGRAM
web page |
| 20060605 | REPOSITORY, 2010, REPOSITORY
web page |
| 20060606 | SEARCH ENGINE, 2010, STUDY FOR AN NZNL.COM SEARCH ENGINE
web page |
| 20060607 | STUDY FOR AN INSTALLATION IN A DANGEROUS PLACE, 2010, OLD SCREENS, TAPE, LEADS, LEAKAGE
web page |
| 20060608 | FACE (PROVISIONAL), 2010, FACE
web page |
| 20060609 | STUDY FOR A FACE FOR NZNL.COM WORKER #1, 2010, FACE
web page |
| 20060610 | STUDY FOR A SEQUENCE, 2010, SEQUENCE STUDY
web page |
| 20060611 | STUDY FOR A FACE TO FACE, 2010, PERFORMANCE FOR YOU AND NZNL.COM WORKER #1
web page |
| 20060612 | CRIME SCENE, 2010, BED, RED PIGMENTS IN ACRYLIC BINDER AND LINSEED OIL
fireworks/photoshop file |
| 20060613 | WE PROJECT PROJECTS IN OUR PROJECTION ROOM, 2010, PERFORMANCE FOR THE NZNL.COM PROJECTION ROOM
web page |
| 20060614 | EMBEDDED INTERFACE, 2010, STUDY FOR AN EMBEDDED INTERFACE
web page |
| 20060615 | ONE PROPOSITION FOR THE NZNL.COM EXHIBITION HALL PROPERTY, 2010, AERIAL PHOTOGRAPHY
google earth image/fireworks |
| 20060616 | NZNL.COM EXHIBITION HALL LANES, ALLEYS AND BACKSTREETS, 2010, STUDY FOR A DIGESTIVE SYSTEM
web page |
| 20060617 | YOU ARE CLOSER THAN MY SKIN (PROJECTION CHAMBER), 2010, PLAN FOR AN INTERNALIZED VIEWING SYSTEM
fireworks file |
| 20060618 | EVEN OUR FOUNDATION IS MADE OF AIR, 2010, AIR FOUNDATION
found image |
| 20060619 | SKETCH FOR THE RGB ROOM (UNTITLED ABSTRACT), 2010, PERFORMANCE
fireworks file |
| 20060620 | SKETCH FOR THE NZNL.COM EXHIBITION HALL VIEWING CABINET, 2010, KEYBOARD VIEWING CABINET
web page |
| 20060621 | ANOTHER SEARCH ENGINE FOR THE NZNL.COM EXHIBITION HALL, 2010, KEYBOARD SEARCH ENGINE
web page |
| 20060622 | CONTACT, 2010, CHAT SESSION WITH NZNL.COM WORKER #1
web page |
| 20060623 | MEADOW, 2010, MEADOW
web page found image |
| 20060624 | PROJECTION CHAMBER, 2010, PROJECTION CHAMBER
web page |
| 20060625 | ADDING DETAIL TO NZNL.COM WORKER #5 [head blob], 2010, NZNL.COM JAVASCRIPT DETAIL ENGINE
web page |
| 20060626 | DIALOGUE, 2010, DIALOGUE
web page |
| 20060627 | ADDING DETAIL, 2010, PORTRAIT OF NZNL.COM WORKER #5
photoshop file from found image |
| 20060628 | THE NEW DOOR, 2010, PLASTER OF PARIS, ACRYLICS, STAGE LIGHTING
photoshop/fireworks file |
| 20060629 | STUDY FOR THE NZNL.COM EXHIBITION HALL GAME ENGINE, 2010, JAVASCRIPT GAME ENGINE
web page |
| 20060630 | ADDING DETAIL, 2010, PLASTER OF PARIS, ACRYLICS, STAGE LIGHTING
found image |
| 20060631 | |
| 20060701 | EASTERN VIEW, 2010, VIEW
found image |
| 20060702 | ADDING DETAIL, 2010, STUDY FOR A PORTRAIT OF NZNL.COM WORKER #1
web page |
| 20060703 | VIEWERS, 2010, 50 TEMPORARY NZNL.COM WORKERS, WHITE CUBE
web page |
| 20060704 | NZNL.COM EXHIBITION HALL RAVAGED BY FLAMES, 2010, PERFORMANCE
web page
|
| 20060705 | STUDY FOR A COMMAND LINE INTERFACE, 2O10, NZNL.COM EXHIBITION HALL INTERFACE
web page |
| 20060706 | A MORE COHERENT NZNL.COM EXHIBITION HALL, 2010, PROJECT PROPOSAL
slideshow presentation |
| 20060707 | STUDY FOR THREE MONOCHROMES, 2010, PERFORMANCE FOR ABSTRACT PAINTINGS
quicktime movie |
| 20060708 | NZNL.COM EXHIBITION HALL RAVAGED BY FLAMES, 2010, PROJECT PROPOSAL
slide show |
| 20060709 | PLACING THE STATUE OF NZNL.COM WORKER #1 IN THE CENTRAL RECREATIONAL AREA, 2010, PERFORMANCE FOR 10 NZNL.COM WORKERS
web page |
| 20060710 | PLAN FOR A PIT, 2010, PRESENTATION FOR THE NZNL.COM EXHIBITION HALL
presentation |
| 20060711 | THINGS NO LONGER HELD UP FALL DOWN, 2010, PROJECTION
fireworks file |
| 20060712 | ZOOMING, 2010, STUDY FOR ZOOMING
web page |
| 20060713 | THE NEAREST TO A DESKTOP WE WILL EVER GET, 2010, NZNL.COM COMMAND LINE DESKTOP
web page |
| 20060714 | THREE MONOCHROMES, 2010, RENDERED OBJECTS, PIGMENTS, SUSPENSE
photoshop/fireworks file |
| 20060715 | INTERLUDE, 2010, INTERLUDE
web page |
| 20060716 | PIT, 2010, PIT
fireworks file |
| 20060717 | INTERLUDE, 2010, INTERLUDE (NZNL.COM PROGRAM STUB)
web page |
| 20060718 | REPOSITORY, 2010, REPOSITORY
photoshop/fireworks file |
| 20060719 | WALL, 2010, WALL
web page |
| 20060720 | LIGHTFALL, 2010, LIGHTFALL
web page |
| 20060721 | INTERLUDE, 2010, INTERLUDE
web page |
| 20060722 | ONE IS A POINT TWO IS A LINE THREE IS AN AREA, 2010, SOUND PIECE
web page |
| 20060723 | STUDY ON THE DRAMATICS OF AN NZNL.COM PROGRAM, 2010, PERFORMANCE
web page |
| 20060724 | NIGHTFALL, 2010, NIGHTFALL
web page |
| 20060725 | ABSTRACT PAINTING, 2010, PLASTER OF PARIS, PIGMENTS, INTERIOR ILLUMINATION
photoshop/fireworks file |
| 20060726 | PANEL, 2010, NZNL.COM EXHIBITION HALL PANEL
web page dummy |
| 20060727 | INTERLUDE, 2010, INTERLUDE
web page |
| 20060728 | STUDY FOR THE NZNL.COM EXHIBITION HALL SUPERSTRUCTURE, 2010, PERFORMANCE FOR THE FIRST 1522 NZNL.COM TITLES
web page |
| 20060729 | STUDY FOR SCAFFOLDING, 2010, NZNL.COM EXHIBITION HALL SCAFFOLDING
web page |
| 20060730 | LIGHT SCULPTURE, 2010, WHITE CUBE, LIGHT
fireworks/photoshop file |
| 20060731 | FLOOR, 2010, PROPOSAL FOR A NZNL.COM EXHIBITION HALL FLOOR ELEMENT
fireworks file |
| 20060801 | RED PAINTING, 2010, PLASTER OF PARIS, PIGMENTS, WHITE CUBE
fireworks/photoshop file |
| 20060802 | THE NZNL.COM EXHIBITION HALL MAPPED ONTO THE ARTISTS RIGHT HAND, 2010, PERFORMANCE FOR NZNL.COM WORKER #1
fireworks file |
| 20060803 | ANOTHER STUDY FOR A COMMAND LINE SEARCH ENGINE FOR THE NZNL.COM EXHIBITION HALL, 2010, CARDBOARD, DUCT TAPE, STRING
web page |
| 20060804 | COOL ROOM, 2010, WHITE CUBE, COOLING ELEMENTS
photoshop file |
| 20060805 | STUB FOR THE NZNL.COM EXHIBITION HALL API, 2010, STRING, DUCT TAPE, CARDBOARD, PASTE, ACRYLICS
web page |
| 20060806 | THE NZNL.COM EXHIBITION HALL COULD GO UNDERGROUND, 2010, PLAN FOR AN NZNL.COM EXHIBITION HALL UNDERGROUND
fireworks file
|
| 20060807 | PERFECT ROOM, 2010, PERFECT ROOM
fireworks/photoshop file |
| 20060808 | TRIPTICH, 2010, TREE WRECK, THREE ABSTRACTS, CAR PARK
fireworks file |
| 20060809 | CONNECTED UNDERGROUND (ondergronds verbonden), 2010, PERFORMANCE FOR THE GUGGENHEIM, POMPIDOU AND THE NZNL.COM EXHIBITION HALL
fireworks file |
| 20060810 | ARCHITECTURE COULD GET MUCH MORE INTERESTING, 2010, DESIGN FOR A NZNL.COM EXHIBITION HALL UTILIZING ANTI-GRAVITY
fireworks file |
| 20060811 | PLAN FOR AN AFTER THE PARTY INSTALLATION PIECE, 2010, POLYMERES, ACRYLICS, WHITE CUBE
fireworks/photoshop file |
| 20060812 | INTERLUDE, 2010, INTERLUDE
photoshop file |
| 20060813 | MODELLING, 2010, MODEL OF THE NZNL.COM EXHIBITION HALL IN SEQUOIA NATIONAL PARK
fireworks/photoshop file |
| 20060821 | DESCRIBING, IS AS SHOWING. A ROOM, FLOOR, WALLS. WITHIN, A SHAPE. THEN I TURN TO YOU. I AM YOUR EYES, WE MERGE.
|
| 20060828 | CRIME SCENE (POOL OF BLOOD), 2010, OVAL POOL, SYNTHETIC DYES (RED)
found image/photoshop |
| 20060829 | INTERLUDE, 2010, INTERLUDE
digital image/photoshop |
| 20060830 | INTERLUDE, 2010, INTERLUDE
quicktime movie |
| 20060831 | INTERLUDE, 2010, INTERLUDE (2)
quicktime movie |
| 20060901 | STUDY FOR A COPY OF RICHARD TUTTLES 1989 GALERIE SCHMELA SHOW, 2010, PLASTER OF PARIS, CARDBOARD, ACRYLICS
fireworks file |
| 20060902 | STUB FOR A RENDERING OF BARNETT NEWMANS WHOS AFRAID OF RED YELLOW AND BLUE IN FACTS AND FIGURES, 2010, MYSQL DATABASE
web page |
| 20060903 | SOME IDEA OF THE NZNL.COM EXHIBITION HALL, 2010, PERFORMANCE FOR 2 MEMBERS OF THE GENERAL PUBLIC
manipulated digital image |
| 20060904 | COPY OF THE 1986 RICHARD TUTTLE INSTALLATION SPACE AT CAPC MUSEE D ART CONTEMPORAINE DE BORDEAUX, 2010, PLASTER OF PARIS, CONSTRUCTION MATERIALS, ACRYLICS
fireworks file |
| 20060905 | COPY OF THE 1974 RICHARD TUTTLE INSTALLATION AT GALERIE YVON LAMBERT PARIS, 2010, PLASTER OF PARIS, CONSTRUCTION MATERIALS, ACRYLICS
fireworks file |
| 20060906 | DETAIL OF CRICKETS 1991 (ANOTHER RICHARD TUTTLE INSTALLATION COPY), 2010, PLASTER OF PARIS, CONSTRUCTION MATERIALS, ACRYLICS
fireworks file |
| 20060907 | MOULD FOR A COPY OF WHOS AFRAID OF RED YELLOW AND BLUE, 2010, PLASTER OF PARIS, CONSTRUCTION MATERIALS
fireworks file |
| 20060908 | MOULD FOR A ROOM, 2010, PLASTER OF PARIS, CONSTRUCTION MATERIALS
fireworks file |
| 20060909 | PRELIMINARY STUDY FOR THE STANDARD STEP, 2010, PLYWOOD, LINOLEUM
fireworks file |
| 20060910 | THIS WAY BROUWN (ONE STEP), 2010, STUB FOR A PROJECT PROPOSAL
web page |
| 20060911 | NOTES FOR PAPER ARCHITECT, 2010, PERFORMANCE FOR THE ISO 216 FORMAT
web page |
| 20060912 | MUSEUM GUARD, 2010, PERFORMANCE FOR NZNL.COM WORKER #7
fireworks file web page |
| 20060913 | STUDY FOR A TIME PIECE, 2010, JAVASCRIPT TIME PIECE
web page |
| 20060914 | STUDY FOR AN ARRAY, 2010, TIMED SEQUENCE
web page |
| 20060915 | NETWORK, 2010, PHOTOGRAPHIC INSTALLATION IN THE BETTY PARSONS GALLERY, NEW YORK, 1963 OF THE GALERIA FORTES VILACA, SAO PAULO, 2001
photoshop file |
| 20060916 | IMI KNOEBEL INSTALLATION VIEW, 2010, DETAIL OF THE IMI KNOEBEL INSTALLATION IN THE NZNL.COM EXHIBITION HALL
fireworks file |
| 20060917 | INSTALLATION VIEW, 2010, DETAIL
fireworks file |
| 20060918 | COVER FOR PROPOSAL FOR A NZNL.COM EXHIBITION HALL, 2010, PROJECT PROPOSAL HARDCOVER VERSION
fireworks file |
| 20060919 | MOMENTS BEFORE THE SITTING OF THE COMMITTEE THE PROPOSAL WAS LOST, 2010, PERFORMANCE FOR NZNL.COM WORKER #1 AND THE DUMMY PROPOSAL
fireworks file |
| 20060920 | 3 X 15 (THREE TIMES FIFTEEN), 2010, PERFORMANCE FOR NZNL.COM WORKER #1
quicktime movie |
| 20060921 | 3 x 15 (RGB) (THREE TIMES FIFTEEN), 2010, PERFORMANCE FOR THREE COLOURS
quicktime movie |
| 20060922 | 6 x 15 (SIX TIMES FIFTEEN), 2010, PERFORMANCE FOR NZNL.COM WORKER #1 AND RGB
quicktime movie |
| 20060923 | 1 x 15 (ONE TIME FIFTEEN), 2010, PERFORMANCE
quicktime movie |
| 20060924 | BLACK CUBE, 2010, BLINDED EXHIBITION SPACE, PROJECTIONS (PERFORMANCE FOR 3 NZNL.COM WORKERS)
fireworks file |
| 20060925 | 4 x 15 (FOUR TIMES FIFTEEN)(BLACK CUBE), 2010, PERFORMANCE FOR MEMBERS OF THE GENERAL PUBLIC
quicktime movie found footage http://nicknack.org |
| 20060926 | BLACK CUBE, 2010, BLACK CUBE
fireworks file |
| 20060927 | 3 x 15 (THREE TIMES FIFTEEN)(THE TRUTH IN PAINTING), 2010, PERFORMANCE FOR VOICE, RGB
quicktime movie
|
| 20060928 | 21 29 42 59 84 119(ISO 216), 2010, PERFORMANCE FOR RGB AND AN INCIDENT
quicktime movie |
| 20060929 | 7 10 15 21 (ISO 216), 2010, 7 10 15 21
quicktime movie |
| 20060930 | BLACK CUBE, 2010, BLACK CUBE, THREE ABSTRACT PAINTINGS
fireworks file |
| 20061001 | WHITE CUBE, 2010, WHITE CUBE, THREE ABSTRACT PAINTINGS
fireworks file |
| 20061002 | VIEWING CABINET, 2010, VIEWING CABINET
fireworks file |
| 20061003 | METHOD: CONTEXTUALIZE, 2010, OBJECT TO BE CONTEXTUALIZED, CONTEXTUALIZER
fireworks file |
| 20061004 | HANG ON ME (I AM A WALL), 2010, SPACE, WALL
fireworks file |
| 20061005 | PREPARING FOR RICHARD LONGS THE SPACE OF TIME, 2010, GALLERY SPACE
fireworks file |
| 20061006 | RENE DANIELS A HOT DAY IN THE LIGHTHOUSE 1984, 2010, PLYWOOD, PLASTER OF PARIS, ACRYLICS
fireworks file |
| 20061007 | ROBERT RYMANS LEDGER 1982 SLIGHTLY CORRECTED, 2010, PLASTER OF PARIS, PLYWOOD, ACRYLICS
fireworks file |
| 20061008 | BLUR, 2010, BLUR
fireworks file |
| 20061009 | STUDY FOR AN ABSTRACT PAINTING, 2010, (ISO 216 WIDESCREEN CINERAMA)
fireworks file |
| 20061010 | ABSTRACT PAINTING, 2010, PLASTER OF PARIS, CONSTRUCTION MATERIALS, ACRYLICS
fireworks file |
| 20061011 | ABSTRACT PAINTING, 2010, PLASTER OF PARIS, CONSTRUCTION MATERIALS, ACRYLICS
fireworks file |
| 20061012 | ABSTRACT PAINTING, 2010, PLASTER OF PARIS, CONSTRUCTION MATERIALS, ACRYLICS
fireworks file |
| 20061013 | ABSTRACT PAINTING, 2010, ABSTRACT PAINTING
fireworks file |
| 20061014 | WIDESCREEN, 2010, WIDESCREEN
fireworks file |
| 20061015 | WIDESCREEN TECHNISCOPE, 2010, WIRE SCULPTURE
fireworks file |
| 20061016 | 210 297 420 (ISO 216), 2010, PERFORMANCE FOR THREE ABSTRACTS
fireworks file |
| 20061017 | CORNER PIECE, 2010, CORNER PIECE
fireworks file |
| 20061018 | THE CURRENT STATE, 2010, DETAIL
fireworks file |
| 20061019 | HANG ON ME (I AM A WALL), 2010, SPACE, WALL, BRAD BRACE JPEG
fireworks file with brad brace image |
| 20061020 | TOP VIEW, 2010, TOP VIEW (HONEYCOMB)
fireworks file |
| 20061021 | INSTALLATION VIEW, 2010, INSTALLATION VIEW (HONEYCOMB)
fireworks file (found images) |
| 20061022 | INSTALLATION (DENNIS KIMMERLICH), 2010, PLASTER OF PARIS, CONSTRUCTION MATERIALS, ACRYLICS
fireworks file |
| 20061023 | STUDIO TABLE, 2010, STEEL, PLYWOOD, LACQUERS
fireworks file |
| 20061024 | DESKTOP, 2010, INSTALLATION
fireworks file |
| 20061025 | TRIPTICH, 2010, 3 WALL MOUNTED MONITORS (EXPLODED)
fireworks file, found image |
| 20061026 | STUDY FOR AN ABSTRACT PAINTING AS ABSTRACT, 2010, (WHOS AFRAID OF RED YELLOW AND BLUE IN LAYERS) (RGB)
fireworks file |
| 20061027 | EXHIBITION SPACE, 2010, PLYWOOD, PLASTER OF PARIS, ACRYLICS
fireworks file |
| 20061028 | BLINKY PALERMO SHOW (CORRECTED), 2010, STRETCHED TEXTILES, LAMINATES, PLASTER OF PARIS, ACRYLICS
fireworks file |
| 20061029 | PRESENTING RENE DANIELS LOLA DE BALANCE (1986) (CORRECTED), 2010, CARDBOARD, PASTE, PLASTER OF PARIS, ACRYLICS
fireworks file |
| 20061030 | WHITE CUBE BLACK CUBE, 2010, LAMINATES, PLYWOOD, PLASTER OF PARIS, ACRYLICS, NEONS
fireworks file |
| 20061031 | COPY OF A ROB VAN KONINGSBRUGGEN PIECE, 2010, PERFORMANCE FOR A STRETCHED CANVAS AND RGB
fireworks file |
| 20061101 | COPY OF STANLEY KUBRICKS MONOLITH (1968), 2010, PLYWOOD, PLASTER OF PARIS, ACRYLICS (CINERAMA VERSION)
fireworks file |
| 20061102 | BARNETT NEWMANS CATHEDRA (CORRECTED), 2010, PLYWOOD, PLASTER OF PARIS, ACRYLICS (CINERAMA VERSION)
fireworks file |
| 20061103 | PEDESTAL, 2010, PEDESTAL
fireworks file |
| 20061104 | PREPARATIONS FOR PAUL SLOCUMS COLOR SEQUENCER 2005 (CORRECTED), 2010, LCD MONITORS, COMPUTERS (HIDDEN)
fireworks file |
| 20061105 | FRAME, 2010, FRAME
fireworks file
|
| 20061106 | GILDED FRAME FRAMES, 2010, FRAME FRAMES GILDED
fireworks file found images |
| 20061107 | DIPTICH, 2010, ACRYLICS ON PLYWOOD, VARIABLE DIMENSIONS
fireworks file found image |
| 20061108 | FRAME FRAMES, 201O, PROJECTORS, CONTEXT
fireworks file |
| 20061109 | FRAME FRAMES, 2010, FRAME FRAMES
fireworks file |
| 20061110 | FRAME FRAMES, 2010, FRAMES FRAME
fireworks file |
| 20061111 | FRAME GUARD, 2010, GUARD
fireworks file found image |
| 20061112 | FRAMING GREENAWAYS THE DRAUGHTMANS CONTRACT, 2010, SCREENING
fireworks file |
| 20061113 | THREE FRAMES, 2010, FRAMES
fireworks file |
| 20061114 | UNTITLED FRAME, 2010, FRAME
fireworks file |
| 20061115 | FRAME FRAMES CUT AND FRAMED, 2010, WILD TULIP, CUT AND FRAMED
fireworks file |
| 20061116 | FRAME FRAMES CUT AND FRAMED, 2010, BUST (KANT), CUT AND FRAMED
fireworks file |
| 20061117 | RECONSTRUCTION OF A STILL FRAME, 2010, WHITE CUBE, LAMINATES, PLASTER OF PARIS, ACRYLICS
fireworks file |
| 20061118 | MICROPHONE, 2010, MICROPHONE
fireworks file
|
| 20061119 | RECONSTRUCTING CINDY SHERMANS UNTITLED FILM STILL 1978, 2010, STEEL, CONCRETE, TREES, SHRUBS
fireworks file |
| 20061120 | RECONSTRUCTION OF GER VAN ELKS THE ROSE MORE BEAUTIFUL THAN ART BUT DIFFICULT THEREFORE ART IS SPLENDID 1972 (CORRECTED CUT AND FRAMED), 2010, WILD FLOWERS, CUT AND FRAMED (COUNTRY BOUQUET)
fireworks file |
| 20061121 | ABSTRACT PAINTING, 2010, PLYWOOD, LINEN, ACRYLICS
fireworks file |
| 20061122 | RECONSTRUCTION OF BAS-JAN ADERS FALL (I LOS ANGELES) 1970 FILM, 2010, SHRUBS, TREE, BUNGALOW, CHAIR
fireworks file |
| 20061123 | DATA DIARIES (3000 PICASSO DRAWINGS COMPRESSED), 2010, PICASSO DRAWINGS, PASTE
fireworks file |
| 20061124 | SMALL STACK (DATA DIARIES), 2010, 4 BARNETT NEWMAN PAINTINGS (COMPRESSED)
fireworks file
|
| 20061125 | CUBICLE, 2010, 3 BARNETT NEWMAN PAINTINGS
fireworks file |
| 20061126 | ABSTRACT PAINTING, 2010, PLASTERED DUROX, ACRYLICS
fireworks file |
| 20061127 | ABSTRACT PAINTING, 2010, PLASTERED DUROX, ACRYLICS
fireworks file |
| 20061128 | FRAMEWORK, 2010, STEEL, GLASS, CONCRETE
fireworks file |
| 20061129 | MOVING CONTENT, 2010, PERFORMANCE FOR NZNL.COM WORKER #1
fireworks file |
| 20061130 | MOUNTAIN PATH, 2010, PERFORMANCE FOR NZNL.COM WORKER #1
captioned image |
| 20061201 | DANGEROUS, 2010, INDIAN INK ON CHINESE PARCHMENT
fireworks file |
| 20061202 | LUCIO FONTANAS CONCEPTO ESPACIAL 1959 CORRECTED, 2010, PLASTER OF PARIS, PLYWOOD, ACRYLICS
fireworks file |
| 20061203 | IF BARNETT NEWMANS THE SUBLIME IS NOW 1948 WERE A PAINTING I COULD CONVERT IT INTO A PRESENTABLE ESSENCE, 2010, PLASTER OF PARIS, PLYWOOD, ACRYLICS
fireworks file |
| 20061204 | PATH, 2010, PATH
fireworks file |
| 20061205 | PATH, 2010, PATH
fireworks file found image |
| 20061206 | BRIDGE, 2010, BRIDGE
fireworks file found image |
| 20061207 | VIEWPOINT, 2010, MINIATURE LASER EMITTERS, WHITE CUBE
fireworks file |
| 20061208 | VIEWPOINT. 2010, VIEWPOINT
found image |
| 20061209 | VIEWPOINT, 2010, VIEWPOINT
fireworks file |
| 20061210 | OPEN SOURCE MUSEUM, 2010, CONCRETE, STEEL, IMAGINATION, COLLABORATION
fireworks file |
| 20061211 | INTERLUDE, 2010, INTERLUDE
found image |
| 20061212 | SUBJECT VIEWPOINT, 2010, GRASS, BACKLIGHT
fireworks file |
| 20061213 | VIEWPOINT, 2010, VIEWPOINT
found images |
| 20061214 | ABSTRACT PAINTING, 2010, PLYWOOD, PLASTER OF PARIS, LAMINATES, ACRYLICS
fireworks file |
| 20061215 | RECONSTRUCTION OF MARCEL DUCHAMPS 3 STANDARD STOPPAGES 1913-14. 2010, PLYWOOD, LACQUERS
fireworks file |
| 20061216 | BARENTT NEWMANS CONCORD ON THE GROUND, 2010, PLYWOOD, PLASTER OF PARIS, ACRYLICS
fireworks file |
| 20061217 | HAT, 2010, PERFORMANCE FOR NZNL.COM WORKER #1
found image fireworks file |
| 20061218 | HAT, 2010, HAT
fireworks file |
| 20061219 | A BARRY FLANAGAN CORRECTED, 2010, BRONZE
fireworks file |
| 20061220 | ED MOSES MONOCHROME PAINTINGS 1975-1976 CORRECTED, 2010, PLASTER OF PARIS, ACRYLICS, LAMINIATES
fireworks file |
| 20061221 | FLOW, 2010, POTENTIALLY VALUABLE WORK OF ART, FLOW
fireworks file |
| 20061222 | PAINTING MACHINE, 2010, PAINTING MACHINE
fireworks file |
| 20061223 | FAT, 2010, FAT
fireworks file |
| 20061224 | SOME THOUGHTS ON ANARCHITECTURE (GORDON MATTA-CLARK), 2010, LAMINATES, PLASTERBOARD, ACRYLICS
fireworks file |
| 20061225 | CLEAN CUT, 2010, LAMINATE, CHIPBOARD, PLASTERBOARD, ACRYLICS
fireworks file |
| 20061226 | FLOW, 2010, FLOW
fireworks file |
| 20061227 | STUDY FOR YVES KLEINS FALL 1960, 2010, FALL
found images |
| 20061228 | STUDY FOR YVES KLEINS FALL 1960, 2010, FALL, CYCLIST
found images |
| 20061229 | FOUR COPIES OF YVES KLEINS LEAP INTO THE VOID 1960, 2010, ...
found images |
| 20061230 | TWO VIEWS (LEAP INTO THE VOID 1960), 2010, ... 5 RUE GENTIL-BERNARD FONTENAY-AUX-ROSES
fireworks file found images |
| 20061231 | THREE TORCHED MONOCHROMES, 2010, PIGMENTS (MY PAINTINGS ARE BUT THE ASHES OF MY ART)
fireworks file |
| 20070101 | ART SHOW, 2011, BOOTH AT THE AMSTERDAM RAI
fireworks file |
| 20070102 | NZNL.COM WORKER #3 AS YVES KLEIN IN A SUIT OF ARMOUR, 2011, PERFORMANCE
fireworks file |
| 20070103 | INTERLUDE, 2011, INTERLUDE
fireworks file |
| 20070104 | COPY OF A ROB VAN KONINGSBRUGGEN PIECE CORRECTED, 2011, PERFORMANCE FOR A STRETCHED CANVAS AND RGB
fireworks file |
| 20070105 | CORY ARCANGEL STILL FROM DATA DIARY JANUARY 31 2002 CORRECTED, 2011, INKJET ON DIBOND, 841 × 1189 MM
fireworks file |
| 20070106 | YVES KLEINS JOURNAL DU DIMANCHE NOVEMBER 27 1960 (FRAMED), 2011, NEWSPRINT, 841 X 1189 MM
fireworks file |
| 20070107 | THE COPYIST, 2011, INKJET PRINT ON DIBOND
found image fireworks file |
| 20070108 | BLACK CUBE WHITE CUBE CORY ARCANGEL VS ROB VAN KONINGSBRUGGE, 2011, INSTALLATION
fireworks file |
| 20070109 | INTERLUDE (OOZE), 2011, INTERLUDE
fireworks file |
| 20070110 | BLUE OOZE GOLD OOZE PINK OOZE (FOR YVES KLEIN), 2011, PIGMENTS, GOLD LEAF
fireworks file |
| 20070111 | 2 TACKS AND 3 BLOBS, 2011, ACRYLICS, STEEL
fireworks file |
| 20070112 | R STRANDS G STRANDS B STRANDS, 2011, FIBRES, PIGMENTS, GLASS, PLASTICS
fireworks file |
| 20070113 | THREE RELAXED CANVASES, 2011, DYED CANVAS, RELAXED
fireworks file |
| 20070114 | BLUE POND, 2011, POND, IKB (INTERNATIONAL KLEIN BLUE)
fireworks file |
| 20070115 | EVASIVE CONTENT, 2011, RGB PROJECTOR, LEAD
fireworks file
|
| 20070116 | CROSS SECTION, 2011, EXHIBITION HALL (TOP), POWER NODE (BOTTOM)
fireworks file |
| 20070117 | GENERATOR, 2011, GENERATOR, VIDEO PROJECTORS
fireworks file |
| 20070118 | R TUBE G TUBE B TUBE, 2011, EMBEDDED TUBING
fireworks file |
| 20070119 | R GENERATOR G GENERATOR B GENERATOR, 2011, TUBING, PLYWOOD, LAMINATES, RGB
fireworks file |
| 20070120 | R PUMP G PUMP B PUMP, 2011, HONEY PUMPS (RECYCLED), TUBING
fireworks file |
| 20070121 | FLOW, 2011, FLOW
fireworks file |
| 20070122 | MIX, 2011, PIGMENTED GLASS
fireworks file |
| 20070123 | MUSEUM BAGS, 2011, EMPTY MUSEUM BAGS
fireworks file |
| 20070124 | PERFORMANCE FOR A WORKER POSING AS FRANCIS BACON, 2011, PERFORMANCE
fireworks file found image |
| 20070125 | NOT ENTIRELY IN THE PICTURE, 2011, CRUMPLED NEWSPAPER CLIPPINGS, SMUDGED PHOTOGRAPHS, OILS, ACRYLICS, EMPTY TUBES, DUST AND RUBBLE
fireworks file |
| 20070126 | R BLUR G BLUR B BLUR, 2011, PERFORMANCE FOR R G B
fireworks file |
| 20070127 | R POWER G POWER B POWER, 2011, SOLAR PANELS, LEADS, R PANEL G PANEL B PANEL
fireworks file |
| 20070128 | INTERLUDE, 2011, INTERLUDE
fireworks file |
| 20070129 | BRUCE NAUMAN 1988 INSTALLATION WITH ALAN SONDHEIM INSERT, 2011, STEEL AND POLYURETHANE FOAM, MOTOR, COLOR VIDEOTAPE WITH SOUND, QUICKTIME MOVIE
fireworks file |
| 20070130 | R POWER G POWER B POWER, 2011, (GENERATORS)
fireworks file |
| 20070131 | COPYING ROOM (MARY BOONE GALLERY), 2011, MARBLE, CONCRETE, LIGHTING, ABSTRACT PAINTINGS
fireworks file |
| 20070201 | BATTERY, 2011, RGB BATTERY
fireworks file |
| 20070202 | FOUNDATION, 2011, FOUNDATION
fireworks file |
| 20070203 | PORTAL, 2011, PORTAL
fireworks file |
| 20070204 | BUILDING, 2011, BUILDING
fireworks file |
| 20070205 | PARTS, 2011, R_BEUYS B_NEWMAN G_RYMAN PARTS
found images fireworks file |
| 20070206 | BUILDING, 2011, R_KLEIN G_NEWMAN B_PALERMO
found images fireworks file |
| 20070207 | BUILDING, 2011, R_BEUYS G_POLLACK B_ADER
found images fireworks file |
| 20070208 | HAT, 2011, HAT
found images |
| 20070209 | BELL AND HAT, 2011, BELL, HAT
fireworks file |
| 20070210 | TWO GLASSES ONE HALF-FILLED, 2011, TUMBLERS, WATER
fireworks file |
| 20070211 | VESSEL AND HEAD, 2011, HEAD, VESSEL
fireworks file |
| 20070212 | THREE VESSELS, 2011, VESSELS
fireworks file |
| 20070213 | RICHARD TUTTLE OTIS ART INSTITUTE GALLERY LOS ANGELES CALIFORNIA PART II FEBRUARY 1 - FEBRUARY 29 1976 (CORRECTED), 2011, INSTALLATION VIEW WITH FLOOR PLAN
firework file |
| 20070214 | RICHARD TUTTLES 11TH PAPER OCTOGANAL 1970 REINSTALLED, 2011, PAPER, PASTE
fireworks file |
| 20070215 | RECONSTRUCTION OF THE RICHARD TUTTLE INSTALLATION AT GALERIE SMELA DUSSELDORF 1989 (CORRECTED AND UPDATED), 2011, CANVAS, PLYWOOD, ALUMINIUM, ACRYLICS, FLUORESCENT LIGHT, LEADS, ELECTRONICS, LCD MONITOR
fireworks file |
| 20070216 | RICHARD TUTTLE INSTALLATION VIEW AT BLUM HELMAN GALLERY NEW YORK 1983 (CORRECTED), 2011, INSTALLATION VIEW
fireworks file |
| 20070217 | RICHARD TUTTLE INSTALLATION VIEW AT BLUM HELMAN GALLERY NEW YORK 1983 (CORRECTED AGAIN), 2011, INSTALLATION VIEW
fireworks file |
| 20070218 | INTERLUDE, 2011, INTERLUDE
fireworks file |
| 20070219 | THREE FAUCETS, 2011, R TAP G TAP B TAP
fireworks file |
| 20070220 | VESSELS, 2011, VESSELS
fireworks file |
| 20070221 | BODY, 2011, BODY
fireworks file |
| 20070222 | BODY AND VESSEL, 2011, VESSEL, BODY
fireworks file |
| 20070223 | BUILDING, 2011, R_EZRA, G_JAMES, B_STANISLAW
fireworks file found images |
| 20070224 | BUILDING, 2011, R_PRIDE G_ENVY B_WRATH
fireworks file |
| 20070225 | BUILDING, 2011, R_FAITH G_HOPE B_CHARITY
fireworks file |
| 20070226 | BUILDING, 2011, C_SLOTH M_GREED Y_GLUTTONY K_LUST
fireworks file
|
| 20070227 | BUILDING, 2011, C_PRUDENCE M_TEMPERANCE Y_FORTITUDE K_JUSTICE
fireworks file |
| 20070228 | BUILDING, 2011, R_ASIMOV G_BALLARD B_CLARKE
fireworks file |
| 20070301 | BUILDING, 2011, R_LESSING G_LE GUIN B_GUNN
fireworks file |
| 20070302 | BUILDING, 2011, R_STURGEON G_BESTER B_VANCE
fireworks file |
| 20070303 | INTERLUDE, 2011, INTERLUDE
fireworks file |
| 20070304 | SPECTATOR, 2011, SPECTATOR
fireworks file |
| 20070305 | SPECTATOR, 2011, BRONZE, PEDESTAL
fireworks file |
| 20070306 | ROOM, 2011, ROOM
fireworks file
|
| 20070307 | UTOPIA, 2011, UTOPIA
fireworks file |
| 20070308 | SPECTATOR, 2011, SPECTATOR
fireworks file |
| 20070309 | VISION, 2011, VISION
fireworks file |
| 20070310 | VISION, 2011, VISION
fireworks file
|
| 20070311 | VISION, 2011, VISION
fireworks file
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| 20070312 | VISION, 2011, NATURA MORTA
fireworks file
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| 20070313 | VISION, 2011, NATURA MORTA
fireworks file
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| 20070314 | NATURA MORTA, 2011, VISION
fireworks file
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| 20070315 | NATURA MORTA, 2011, NATURA MORTA
fireworks file
|
| 20070316 | NATURE MORTA, 2011, NATURA MORTA
fireworks file
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| 20070317 | NATURA MORTA, 2011, NATURA MORTA
fireworks file
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| 20070318 | NATURA MORTA, 2011, NATURA MORTA
fireworks file |
| 20070319 | NATURA MORTA, 2011, NATURA MORTA
fireworks file
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| 20070320 | NATURA MORTA, 2011, NATURA MORTA
fireworks file |
| 20070321 | MORTA, 2011, NATURA MORTA
fireworks file
|
| 20070322 | NATURA, 2011, NATURA MORTA
found image captioned |
| 20070323 | DEPOSITO MORTA, 2011, MORTA DEPOSITO
fireworks file
|
| 20070324 | DEPOT, 2011, DEPOT
fireworks file |
| 20070325 | INTERLUDE, 2011, INTERLUDE (FOUR ABSTRACTS)
fireworks file
|
| 20070326 | BOWL, 2011, BOWL
found image fireworks file
|
| 20070327 | TUMBLER, 2011, TUMBLER
found image fireworks file
|
| 20070328 | BOTTLE, 2011, BOTTLE
found image fireworks file
|
| 20070329 | LIGHT, 2011, LIGHT
found image fireworks file
|
| 20070330 | TWO TUMBLERS ONE TUMBLED, 2011, TUMBLERS
found image fireworks file
|
| 20070331 | THREE TUMBLERS, 2011, TUMBLERS
fireworks file
|
| 20070401 | INTERLUDE, 2011. INTERLUDE
fireworks file
|
| 20070402 | FLOW, 2011, FLOW
pen ink found image fireworks file
|
| 20070403 | INTERLUDE, 2011, INTERLUDE
pen ink fireworks file
|
| 20070404 | INTERLUDE, 2011, INTERLUDE (3 IRREVERSIBILITIES)
digital photograph pen ink fireworks file
|
| 20070405 | IRREVERSIBILITY, 2011, GLASSES, DARK LIQUID
fireworks file |
| 20070406 | BODY, 2011, BODY (ROLLED CANVAS)
fireworks file
|
| 20070407 | BODY SPILL, 2011, VESSEL, SPILL
fireworks file
|
| 20070408 | NZNL OFFICES AT 97TH ST CENTRAL PARK NEW YORK, 2011, CARDBOARD, PLYWOOD, PLASTER OF PARIS, ACRYLICS
google maps image fireworks file
|
| 20070409 | NZNL OFFICES IN HYDE PARK LONDON UK, 2011, CARDBOARD, PLYWOOD, PLASTER OF PARIS, ACRYLICS
google maps image fireworks file
|
| 20070410 | NZNL OFFICES AT THE PARQUE DO IBIRAPUERA SAO PAOLO BRAZIL, 2011, CARDBOARD, PLYWOOD, PLASTER OF PARIS, ACRYLICS
google maps image fireworks file
|
| 20070411 | TRIPTICH, 2011, ONE OF THREE
fireworks file
|
| 20070412 | TRIPTICH, 2011, TWO OF THREE
fireworks file
|
| 20070413 | TRIPTICH, 2011, THREE OF THREE
fireworks file
|
| 20070414 | INTERLUDE, 2011, INTERLUDE (ROOM)
captured image
|
| 20070415 | INTERLUDE, 2011, INTERLUDE (ROOM)
captured image
|
| 20070416 | INTERLUDE, 2011, INTERLUDE (ROOM)
captured image
|
| 20070417 | YOU WALKED INTO A WHITE CUBE AND YOU WOULDN'T KNOW WHERE THE ART WAS, 2011, EMPTY ROOM NO ART
fireworks file
|
| 20070418 | YOU WALKED INTO A WHITE CUBE AND YOU WOULDN'T KNOW WHERE THE ART WAS, 2011, ROOM, WALL, DAMAGE
|
| 20070419 | YOU WALKED INTO A WHITE CUBE AND YOU WOULDN'T KNOW WHERE THE ART WAS, 2011, WALLS, FLOOR
fireworks file |
| 20070420 | CHARITY, 2011, MOST MINUTE DETAIL, BROADEST OF STROKES
found image, caption
|
| 20070421 | BENEVOLENCE, 2011, MOST MINUTE DETAIL, BROADEST OF STROKES
captioned found image
|
| 20070422 | MERCY, 2011, MOST MINUTE DETAIL, BROADEST OF STROKES
found image captioned
|
| 20070423 | WHITE CUBE, 2011, PERFORMANCE FOR A NUMBER OF DOORS
fireworks file
|
| 20070424 | WHITE CUBE, 2011, PERFORMANCE FOR A NUMBER
found images fireworks file
|
| 20070425 | WHITE CUBE, 2011, PERFORMANCE
fireworks file
|
| 20070426 | MOST MINUTE DETAIL, 2011, BROADEST OF STROKES
found image captioned |
| 20070427 | MOST MINUTE DETAIL, 2011, BROADEST OF STROKES
found image captioned
|
| 20070428 | MOST MINUTE DETAIL, 2011, BROADEST OF STROKES
found image captioned |
| 20070429 | THREE VIEWS OF A CERTAIN THING (IO), 2011, OBJECT, TIME
found image captioned
|
| 20070430 | THREE VIEWS OF A CERTAIN THING (THROWING), 2011, OBJECT, TIME
fireworks file
|
| 20070501 | THREE VIEWS OF A CERTAIN THING (DRAWING), 2011, OBJECT. TIME
found image fireworks file |
| 20070502 | SOME TIME SPENT ON BLOBS, 2011, POLYESTER, RUBBER, RESIN, ACRYLICS
pen dummy paper fireworks file
|
| 20070503 | SOME TIME SPENT ON BLOBS, 2011, COTTON WOOL, PLYWOOD, WIRE, ACRYLICS
found image fireworks file
|
| 20070504 | SOME TIME SPENT ON BLOBS, 2011, POLYESTER, NYLON, RESIN, ACRYLICS
fireworks file
|
| 20070505 | SOLID SOLIDIFY (SHADOW), 2011, HTTP://WWW.JNTHN.NET/CGI-BIN/PHOTOS.PL?ALBUMID=13, (BITMAP), HTTP://SPAGHETTIWESTERNS.1G.FI/HOLY/GHOST.HTM
found images fireworks file captioned |
| 20070506 | SOLID SOLIDIFY (SCAPEGOAT), 2011, HTTP://ARTCHIVE.COM/ARTCHIVE/H/HUNT/HUNT_SCAPEGOAT.JPG.HTML, HTTP://WWW.PAOLOCURTI.COM/CEMIN/CEMIN16.HTM, HTTP://WWW.PILOTGUIDES.COM/DESTINATION_GUIDE/ASIA/PHILIPPINES/SAN_FERNANDO.PHP
found images captioned
|
| 20070507 | SOLID SOLIDIFY, 2011, HTTP://WWW.ART.COM/ASP/SP-ASP/_/PD--10002086/SP--A/EYE.HTM, HTTP://WWW.OSP.FI/MAIN.PHP?TOCID=2&LANG=ENG, HTTP://STARDATE.ORG/RESOURCES/SSGUIDE/SUN.HTML
found images captioned
|
| 20070508 | AN EARLY EXAMPLE OF HETERARCHIC ARCHITECTURE, 2011, HALL OF MANY ENTRANCES
fireworks file
|
| 20070509 | AN EARLY EXAMPLE OF HETERARCHIC ARCHITECTURE, 2011, PHOTOGRAPH (1958-65) BY PAUL VIRILIO, FROM PAUL VIRILIO, BUNKER ARCHAEOLOGY, 1975, TRANS GEORGE COLLINS, (NEW YORK: PRINCETON ARCHITECTURAL PRESS, 1995)
found image recaptioned
|
| 20070510 | AN EARLY EXAMPLE OF HETERARCHIC ARCHITECTURE, 2011, PLASTER OF PARIS, PLYWOOD, ACRYLICS (TCP/IP PACKET TIANANMEN CHINA)
found images captioned
|
| 20070511 | SKIN, 2011, SKIN
found image captioned
|
| 20070512 | SKIN, 2011, SKIN
found image captioned
|
| 20070513 | SKIN, 2011, SKIN
found image captioned
|
| 20070514 | HEAD, 2011, HEAD
fireworks file
|
| 20070515 | HEAD, 2011. HEAD
found image captioned
|
| 20070516 | HEAD, 2011, HEAD
found image captioned |
| 20070517 | SKIN, 2011, SKIN (BERLIN 1961)
found image captioned
|
| 20070518 | SKIN, 2011, SKIN (CYPRUS 2007)
found image captioned
|
| 20070519 | SKIN, 2011, SKIN (CHRISTCHURCH 1961)
|
| 20070520 | PLAN FOR SOMETHING COMPLETE, 2011, PLASTER OF PARIS, PLYWOOD, ACRYLICS, STAGE LIGHTING
fireworks file, text |
| 20070521 | EVERTHING IS COMPLETE, 2011, RECLAIMED PINE
found image captioned and laden
|
| 20070522 | COMPLETE, 2011, RECLAIMED
found image recaptioned |
| 20070523 | STUDY FOR A SMALL TALK, 2011, PERFORMANCE FOR A WALKER
flash movie
|
| 20070524 | STUDY FOR A SMALL TALK, 2011, PERFORMANCE FOR A WALKER
flash movie
|
| 20070525 | STUDY FOR A SMALL TALK, 2011, PERFORMANCE FOR A WALKER
flash movie
|
| 20070526 | INTERLUDE, 2011, INTERLUDE
flash movie
|
| 20070527 | MY HEART IS FULL, 2011, GENEROSITY
flash movie
|
| 20070528 | MY HEART IS FULL, 2011, ENDURANCE
flash movie
|
| 20070529 | MY HEART IS FULL, 2011, SINCERITY
flash movie
|
| 20070530 | STUDY FOR A TALK ON COPYING, 2011, TEMPLATES, STANDARDS, CLASSES
flash movie
|
| 20070531 | STUDY FOR A TALK ON COPYING, 2011, TEMPLATES, STANDARDS, CLASSES
flash movie
|
| 20070601 | STUDY FOR A TALK ON COPYING, 2011, TEMPLATES, STANDARDS, CLASSES
flash movie
|
| 20070602 | SOME TALK SOME DO, 2011, STUDY FOR A SHORT PIECE ON CONCEPTUAL ART
flash movie
|
| 20070603 | STUDY FOR A TALK ON A PERFECT SURFACE, 2011, SOME WORDS ON THE ABSTRACT
flash movie
|
| 20070604 | STUDY FOR SOME COHERENCE, 2011, SOME WORDS ON THE ABSTRACT
flash movie
|
| 20070605 | INTERLUDE, 2011, INTERLUDE
flash movie |
| 20070606 | INTERLUDE, 2011, INTERLUDE
flash movie |
| 20070607 | UNTITLED STUDY, 2011, PERFORMANCE FOR A FIRST PERSON VIEW
flash movie
|
| 20070608 | UNTITLED STUDY, 2011, PERFORMANCE FOR A FIRST PERSON VIEW
flash movie |
| 20070609 | UNTITLED STUDY, 2011, PERFORMANCE FOR A FIRST PERSON VIEW
flash movie |
| 20070610 | INTERLUDE, 2011, INTERLUDE
flash movie
|
| 20070611 | STUDY FOR A DESPAIRING ARTIST, 2011, PERFORMANCE
flash movie
|
| 20070612 | STUDY FOR A DESPAIRING ARTIST, 2011, PERFORMANCE
|
| 20070613 | STUDY FOR A DESPAIRING ARTIST, 2011, PERFORMANCE
flash movie
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| 20070614 | STUDY FOR A CORNER PIECE, 2011, FOLD
fireworks file
|
| 20070615 | STUDY FOR A CORNER PIECE, 2011, JOINT
fireworks file |
| 20070616 | STUDY FOR A CORNER PIECE, 2011, TACKS
fireworks file
|
| 20070617 | INTERLUDE, 2011, INTERLUDE
flash movie |
| 20070618 | INTERLUDE, 2011, INTERLUDE
flash movie |
| 20070619 | SKIN, 2011, SKIN
flash movie |
| 20070620 | SKIN, 2011, SKIN
flash movie |
| 20070621 | SKIN, 2011, SKIN
flash movie
|
| 20070622 | STUDY FOR A BODY OF WORK, 2011, PERFORMANCE
flash movie |
| 20070623 | STUDY FOR A BODY OF WORK, 2011, PERFORMANCE
|
| 20070624 | STUDY FOR A BODY OF WORK, 2011, PERFORMANCE
flash movie
|
| 20070625 | INTERLUDE. 2011, INTERLUDE
flash movie |
| 20070626 | STUDY FOR A GALLERY PIECE, 2011, PERFORMANCE FOR VOICEOVER
flash movie
|
| 20070627 | STUDY FOR A GALLERY PIECE, 2011, PERFORMANCE (NARRATIVE)
flash movie
|
| 20070628 | STUDY FOR A GALLERY PIECE, 2011, PERFORMANCE (INTERROGATIVE)
flash movie
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| 20070629 | INTERLUDE, 2011, INTERLUDE
flash movie
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| 20070630 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE
flash movie
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| 20070701 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE
flash movie
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| 20070702 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE
flash movie
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| 20070703 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE
flash movie
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| 20070704 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE
flash movie
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| 20070705 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (VICKI AND BRUCE)
flash movie
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| 20070706 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (BRUCE AND VICKI)
flash movie
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| 20070707 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (VICKI AND BRUCE)
flash movie
|
| 20070708 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (VICKI AND BRUCE)
flash movie
|
| 20070709 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
flash movie
|
| 20070710 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (BRUCE AND VICKI CLOSE IN)
flash movie
|
| 20070711 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (BRUCE AND VICKI ARE)
flash movie
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| 20070712 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (AXIS)
flash movie
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| 20070713 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (LIFE IS MURDER AFTER ALL)
flash movie
|
| 20070714 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (VICKI)
flash movie
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| 20070715 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (DREAM)
flash movie
|
| 20070716 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (DREAM)
flash movie |
| 20070717 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (THE THIRD PERSON)
flash movie
|
| 20070718 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
flash movie
|
| 20070719 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
flash movie |
| 20070720 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (I WISH I WERE AN ANT ON YOUR HILL)
|
| 20070721 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (SYMMETRY)
|
| 20070722 | INTERLUDE, 2011, INTERLUDE
flash movie
|
| 20070723 | INTERLUDE, 2011, INTERLUDE
flash movie |
| 20070724 | INTERLUDE, 2011, INTERLUDE
flash movie
|
| 20070725 | INTERLUDE, 2011, INTERLUDE
flash movie
|
| 20070726 | INTERLUDE, 2011, INTERLUDE
flash movie |
| 20070727 | INTERLUDE, 2011, INTERLUDE
flash movie |
| 20070728 | INTERLUDE, 2011, INTERLUDE
flash movie |
| 20070729 | INTERLUDE, 2011, INTERLUDE
flash movie
|
| 20070730 | INTERLUDE, 2011, INTERLUDE
flash movie |
| 20070731 | INTERLUDE, 2011, INTERLUDE
flash movie |
| 20070801 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (WALL SOCKET, LEAD TAUNT)
fireworks file
|
| 20070802 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (TABLE)
ink drawing |
| 20070803 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (WALL SOCKET AND LEAD)
ink drawing
|
| 20070804 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (VICKI AND BRUCE)
fireworks file
|
| 20070805 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (THE NARRATORS TRAIL)
google map
|
| 20070806 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (SUGGESTION FOR AN OPENING SHOT)
flash movie
|
| 20070807 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (START)
flash movie
|
| 20070808 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (DAILY COMMUTE)
flash movie
|
| 20070809 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (POSIT AND POSITION)
flash movie
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| 20070810 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (CUTTING)
flash movie
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| 20070811 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (CUTTING)
flash movie
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| 20070812 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (HEAR SEE FEEL)
flash movie
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| 20070813 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (DESCRIPTION)
flash movie
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| 20070814 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (SUMMARY)
flash movie
|
| 20070815 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE - COMIC)
found image (captioned)
|
| 20070816 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (BRUCE ENTERS THE GALLERY)
flash movie
|
| 20070817 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (SYNOPSIS)
|
| 20070818 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (I TAKE YOU IN MY ARMS)
flash movie |
| 20070819 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (SUGGESTION FOR THE LEADING TITLES)
flash movie
|
| 20070820 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (FROM THE CUTTING ROOM FLOOR)
flash movie
|
| 20070821 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (I RETURN CLEANSED)
|
| 20070822 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (PLUG)
found image captioned
|
| 20070823 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (VICKI ON HER GALLERY)
|
| 20070824 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (CHANT)
flash movie |
| 20070825 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (NARRATOR: DOOR TO DOOR)
flash movie
|
| 20070826 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (MY DOUBLE SOOTHS ME)
flash movie
|
| 20070827 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (VICKI: EVERY DAY I NEED TO ASSERT MYSELF)
flash movie
|
| 20070828 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (STARTING POINT)
flash movie |
| 20070829 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (OUR FATHER)
flash movie |
| 20070830 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (AVE MARIA)
flash movie |
| 20070831 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
found image
|
| 20070901 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (LINE)
flash movie
|
| 20070902 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (EMPTY)
flash movie
|
| 20070903 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (LEARN TO WALK LEARN TO SPEAK)
flash movie |
| 20070904 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE( INTERLUDE)
flash movie
|
| 20070905 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (WE ARE BEAM)
flash movie |
| 20070906 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (I AM)
flash movie |
| 20070907 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (WIRE)
flash movie
|
| 20070908 | INTERLUDE, 2011, INTERLUDE
flash movie
|
| 20070909 | INTERLUDE, 2011, INTERLUDE
flash movie
|
| 20070910 | STUDY FOR A NARRATIVE, 2010, GALLERY PIECE (ABSTRACT PAINTING)
flash movie
|
| 20070911 | STUDY FOR A NARRATIVE, 2010, GALLERY PIECE (HAIR)
flash movie
|
| 20070912 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (AXIS)
flash movie
|
| 20070913 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (GUESTS)
flash movie |
| 20070914 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (FEEL MY WIRE)
flash movie |
| 20070915 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (SING MY SONG)
flash movie
|
| 20070916 | INTERLUDE, 2011, INTERLUDE
flash movie
|
| 20070917 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
flash movie |
| 20070918 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (AFTER THE OPENING)
flash movie
|
| 20070919 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (I WISH I COULD CLEAN FOR YOU)
flash movie
|
| 20070920 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (WILL YOU SCRAPE MY FILTH)
flash movie |
| 20070921 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (MOVE MY HEART)
flash movie |
| 20070922 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (MOVE)
flash movie
|
| 20070923 | INTERLUDE, 2011, INTERLUDE
flash movie |
| 20070924 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (MOVE MOVE MOVE)
flash movie |
| 20070925 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (WE NEED THE EXCUSE OF A FICTION TO STAGE WHAT WE TRULY ARE)
flash movie
|
| 20070926 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (CABINET)
flash movie
|
| 20070927 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (DREAM)
flash movie
|
| 20070928 | INTERLUDE, 2011, INTERLUDE
flash movie
|
| 20070929 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (TIME)
flash movie
|
| 20070930 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (TRACES AND HONOURS TIME)
flash movie |
| 20071001 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (TRACES TIME AND HONOURS TIME)
flash movie
|
| 20071002 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (PIETA)
flash movie
|
| 20071003 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
flash movie
|
| 20071004 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (CLOSE)
flash movie |
| 20071005 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
flash movie
|
| 20071006 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (LET MY FLOW INTO YOU)
flash movie
|
| 20071007 | INTERLUDE, 2010, INTERLUDE
flash movie
|
| 20071008 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (I WOULD LIKE TO STAY WITH YOU)
flash movie |
| 20071009 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (WHEN I WAS YOUNGER, I THOUGHT I WANTED TO BECOME AN ARTIST)
flash movie
|
| 20071010 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (I WANTED TO PLAY FOOTBALL FOR THE COACH)
flash movie
|
| 20071011 | INTERLUDE, 2011, INTERLUDE
flash movie
|
| 20071012 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (CHOSEN)
flash movie
|
| 20071013 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (APPARITION)
flash movie |
| 20071014 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INNER STRENGTH)
flash movie |
| 20071015 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (NEGATIVE)
flash movie
|
| 20071016 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (THOUGHT)
flash movie
|
| 20071017 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (POWER)
flash movie
|
| 20071018 | INTERLUDE, 2011, INTERLUDE
flash movie |
| 20071019 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (IDENTITY PERSISTING THROUGH CHANGE)
flash movie
|
| 20071020 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (SKY BLUE)
flash movie
|
| 20071021 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (CHALICE)
flash movie
|
| 20071022 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
flash movie |
| 20071023 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (ZERKALO)
flash movie
|
| 20071024 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
flash movie
|
| 20071025 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (FASTING)
flash movie
|
| 20071026 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (AWARE)
flash movie |
| 20071027 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (STAY)
flash movie |
| 20071028 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
flash movie
|
| 20071029 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (TEDIOUS)
flash movie
|
| 20071030 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (I SHALL RAISE MY HANDS)
flash movie
|
| 20071031 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
flash movie |
| 20071101 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
flash movie
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| 20071102 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (DO YOU TRUST ME?)
flash movie
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| 20071103 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (I WILL ANSWER THAT I LOVE YOU)
flash movie
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| 20071104 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (IN THE HALF-LIGHT)
flash movie
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| 20071105 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
flash movie
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| 20071106 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (THE WILL TO MOVE)
flash movie
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| 20071107 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
flash movie
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| 20071108 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (WHENEVER I FEEL)
flash movie
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| 20071109 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (YES, I SAY: YES)
flash movie
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| 20071110 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
flash movie
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| 20071111 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (HOLE)
flash movie
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| 20071112 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (GUILT)
flash movie
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| 20071113 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
flash movie
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| 20071114 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (YOU WOULD CRAWL)
flash movie
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| 20071115 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
flash movie |
| 20071116 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (PLEASE. LET ME GO.)
flash movie
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| 20071117 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
flash movie
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| 20071118 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (I AM NOTHING WITHOUT YOU)
flash movie |
| 20071119 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERSTITIAL)
flash movie
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| 20071120 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (CRACK)
flash movie
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| 20071121 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERSTITIAL)
flash movie
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| 20071122 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (YOU STAND ALOOF)
flash movie
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| 20071123 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (CLOSE)
flash movie
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| 20071124 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (IT STARTS)
flash movie
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| 20071125 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
flash movie |
| 20071126 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERSTITIAL)
flash movie |
| 20071127 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (I FELL IN LOVE WITH MY SPACE)
flash movie
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| 20071128 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (WHEN YOU LEAVE)
flash movie
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| 20071129 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERSTITIAL)
flash movie
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| 20071130 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (HOLD ME)
flash movie
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| 20071201 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (THREE TIMES I REACHED OUT FOR YOU)
flash movie
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| 20071202 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (STEP AWAY)
flash movie
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| 20071203 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (FRAGILE)
flash movie
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| 20071204 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (SILENCE IS A SENTENCE THAT SHOULD BE)
flash movie
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| 20071205 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (SINGING)
flash movie
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| 20071206 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (PICTURE)
flash movie
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| 20071207 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERSTITIAL)
flash movie |
| 20071208 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (HOW CAN I LOVE YOU)
flash movie
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| 20071209 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (I BET YOU PICTURE ME)
flash movie
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| 20071210 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (PAINTING IS HARD)
flash movie
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| 20071211 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (PAINTING IS EASY)
flash movie
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| 20071212 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (PLANS)
flash movie |
| 20071213 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERSTITIAL)
flash movie
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| 20071214 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (DESTROYS)
flash movie |
| 20071215 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (TIRED)
flash movie
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| 20071216 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (I'M SO VERY TIRED)
flash movie |
| 20071217 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (REPOSITIONING)
flash movie
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| 20071218 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (TIME DELIVERS)
flash movie
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| 20071219 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (WHAT CONCEPTUAL ART IS DOING)
flash movie |
| 20071220 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (TRICKED)
flash movie
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| 20071221 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (RESENT)
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| 20071222 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (WHO IS THE ONE THAT CALLS ITSELF ONE)
flash movie
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| 20071223 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (WHEN YOU ARE GONE)
flash movie |
| 20071224 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (ESTABLISHING SHOT)
flash movie |
| 20071225 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (DISTURBANCE)
flash movie
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| 20071226 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (WHEN IS IS ALL OVER)
flash movie
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| 20071227 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
flash movie
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| 20071228 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
flash movie
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| 20071229 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERSTITIAL)
flash movie
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| 20071230 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (NEW USERS)
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| 20071231 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (SEARCH)
flash movie
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| 20080101 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (LOOKING)
flash movie
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| 20080102 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (PREAMBLE)
flash movie
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| 20080103 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (FACE)
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| 20080104 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (AFTER THE FUNERAL)
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| 20080105 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (STARTING)
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| 20080106 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (CLEAR GROUND)
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| 20080107 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (ABOUT)
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| 20080108 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (STREAM)
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| 20080109 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (SKIN)
flash movie
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| 20080110 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (WHEN SHE DIED)
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| 20080111 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (SPINE)
flash movie
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| 20080112 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (FACTORY)
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| 20080113 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (COMES TOGETHER)
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| 20080114 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (AGAIN)
flash movie
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| 20080115 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERSTITIAL)
flash movie
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| 20080116 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (I HAVE OFTEN THOUGHT)
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| 20080117 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (IT'S BEEN SO LONG)
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| 20080118 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (I WILL MOVE THROUGH YOU)
flash movie
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| 20080119 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (MY SKIN IS STARVED FOR YOUR TOUCH)
flash movie
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| 20080120 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (RECEIVED)
flash movie
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| 20080121 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERSTITIAL)
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| 20080122 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (SLOW)
flash movie |
| 20080123 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERSTITIAL)
flash movie
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| 20080124 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (FALL)
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| 20080125 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (FALLEN)
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| 20080126 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (FALLEN)
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| 20080127 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (ONE EYE)
flash movie
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| 20080128 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (AFTER THE SECOND NIGHT)
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| 20080129 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (PLEASE STAY)
flash movie
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| 20080130 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (ENUMERATE)
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| 20080131 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (FALL)
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| 20080201 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (BLINK)
flash movie |
| 20080202 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (NOW)
flash movie
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| 20080203 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (IN HER ROOM)
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| 20080204 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERSTITIAL)
flash movie
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| 20080205 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (ARRAY)
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| 20080206 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (DEFINE WE SHOULD)
flash movie
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| 20080207 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (ENGAGED)
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| 20080208 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (HAIR EYES LIPS)
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| 20080209 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (WHEN YOU CAME)
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| 20080210 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (..I..)
flash movie
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| 20080211 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERSTITIAL)
flash movie
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| 20080212 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (HALLOWED BE)
flash movie
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| 20080213 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERSTITIAL)
flash movie
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| 20080214 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (WOMANLY LOVE)
flash movie |
| 20080215 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (THE LOVING)
flash movie
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| 20080216 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (SENTENCE)
flash movie
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| 20080217 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (WALK IF WALK I CAN)
flash movie
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| 20080218 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERSTITIAL)
flash movie |
| 20080219 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (BIN)
flash movie
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| 20080220 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (BLINK)
flash movie
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| 20080221 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (FALL)
flash movie
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| 20080222 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
flash movie
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| 20080223 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (FLASHBACK)
flash movie
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| 20080229 | WALL SOCKET, 2011, WALL SOCKET
|
| 20080301 | WHEN DREAMS COME TO LAND, 2011, TEXT WORK
|
| 20080302 | I GATHER WEIGHT AT EVERY PORT OF CALL
|
| 20080303 | THIN, 2011, THIN
fireworks file
|
| 20080304 | SKIN KIN, 2011, KIN SKIN
fireworks file
|
| 20080305 | BEGINNING, 2011, BEGINNING
fireworks file
|
| 20080306 | STUDY FOF A NARRATIVE, 2011, GALLERY PIECE (LISTENING)
fireworks file
|
| 20080307 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (DOLL)
fireworks file |
| 20080308 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (LAUGH)
fireworks file
|
| 20080311 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (I WAS AN ARTIST ONCE)
fireworks file
|
| 20080312 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE
|
| 20080313 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (WALL SOCKET)
fireworks file
|
| 20080314 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (IN TRUTH I COULD NOT TELL YOU)
fireworks file
|
| 20080315 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (I KNOW I SHOULDN'T HAVE)
fireworks file
|
| 20080316 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (THAT SPACE IN WHICH WE SHOW)
fireworks file
|
| 20080317 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (I HAD NO IDEA)
fireworks file |
| 20080318 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (HOW QUICKLY YOU FORGET)
fireworks file
|
| 20080319 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (EARLY HOUR)
fireworks file |
| 20080320 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (AFTER THE SECOND NIGHT)
fireworks file
|
| 20080321 | STUDY FOR A NARRATIVE, 2011, GALLERY PIECE (INTERLUDE)
fireworks file
|
| 20080825 | THIS PICTURE
|
| 20080826 | MUTABLES CONNECTED
|
| 20080827 | MUTABLES CONNECTED LOOSELY
|
| 20080828 | MUTABLES CONNECTED LOOSELY TO FORM
|
| 20080829 | MUTABLES CONNECTED LOOSELY TO FORM ANOTHER OBJECT
|
| 20080902 | DRAWINGS ARE THE BEST
|
| 20080910 | MARKED
|
| 20090220 | UNKNOWN FACE
|
| 20090221 | SEEPAGE
|
| 20090407 |
|
| 20090502 | Back from the hospital, we left him in the car to finish his comic while his father collected his things from the boot. |
| 20090507 | 1. Get an actor (preferably some penniless student) to play the part of the artist.
2. Find a gallery and a gallery owner willing to do something wild.
3. Get a camera crew and a sizable van.
4. Run down to your local mall with the actor/artist and the crew.
5. Have the actor buy any number of decorative panels and/or small blank canvasses while being videoed.
6. Be conspicuously present as the director of the shoot.
7. With the camera still running, make your way to the gallery with the objects the young actor bought.
8. Have the actor and some assistents (other penniless actors?) install the "pieces", all the while smothering everyone with directions.
9. Stage an opening where the actor/artist is ignored and all eyes are on you the director and on the video of the "making of".
|
| 20090512 | SCULPTURE (WHITE CUBE UNDER CONSTRUCTION), 2012, MULTIPLEX |
| 20090513 | MUTABLES CONNECTED LOOSELY |
| 20090514 | A NUMBER OF RELATED STATEMENTS DEPLOYED |
| 20090515 | ABSTRACT PAINTING III, 2012, CAST BRONZE
|
| 20090516 | A NUMBER OF STATEMENTS |
| 20090517 | THINGS NO LONGER HELD UP FALL DOWN
|
| 20090518 | I AM HUMAN, LIKE EVERYBODY ELSE |
| 20090521 | PLAN FOR AN ABSTRACT PAINTING CAST FROM ONE GOLD BAR, 2012, WHITE CUBE, INGOT (GOLD)
|
| 20090524 | PLAN FOR A PIECE OF DIGITAL ART WORK IN REAL SPACE, 2012, WHITE CUBE, COMPUTER EQUIPMENT
|
| 20090531 | CRAYON PALETTE (COMPRESSED), 2011, LACQUER ON CANVAS
|
| 20090628 | BRUCE: I wish I knew you better.
VICKI: You wish to know me better.
BRUCE: Our interactions -- forever a song.
VICKI: I know, forever a song.
BRUCE: And that when I simply wish to describe you.
VICKI: You can't describe me.
BRUCE. I know. I can't describe you.
VICKI: Because?
BRUCE: You're not here. You're not really here.
|
| 20090908 | I
|
| 20160311 | STUDY FOR AN ABSTRACT LOOKING FOR AN INSTANCE, 2017, STRETCHED CANVAS, PRINT, WRAPPING |
| 20160312 | PLAN FOR A SMALL DIPTYCH, 2017, STRETCHED CANVAS, PACKAGING |
| 20160313 | untitled (disconnected high voltage power) |
| 20160314 | untitled (home) |
| 20160315 | TELL THE BLUE SKY THAT I LOVE HER |
| 20160316 | untitled (woman leaving)
|
| 20160317 | TIMELINE LIFETIME |
| 20160318 | DEAR MR. POLLOCK, I SUPPOSE THAT MOST OF YOUR ADMIRERS ARE SILENT ADMIRERS. |
| 20160319 | |
| 20160320 | |
| 20160321 | untitled (home is where the hearth is) |
| 20160322 | untitled (RGB) |
| 20160323 | NURTURE THE FIRE |
| 20160324 | untitled (barbapapa rising)
|
| 20160325 | untitled (Sansevieria)
|
| 20160326 | untitled
|
| 20160327 | PAPER FLESH
|
| 20160328 |
|
| 20160329 | AUDIENCE, 2010, CAST GLASS (stained glass chunky)
|
| 20160330 | BLACK CLOUD
|
| 20160331 | GOD CREATED ME ON MAR 31 AT 15:27 |
| 20160401 | NOT A MOVER OR A SHAKER |
| 20160402 | DEAR MR. NEWMANN, I SUPPOSE THAT MOST OF YOUR ADMIRERS ARE SILENT ADMIRERS.
|
| 20160403 | A LOT OF USED CARS ON A USED CAR LOT |
| 20160404 | CRUELTY TO APPLIANCES, 2017, FAKE POWER SOCKET, ANY NUMBER OF DYING PHONES |
| 20160405 | untitled
|
| 20160406 | untitled |
| 20160407 | rose
|
| 20160408 | untitled (you walked into a white cube and you wouldn't know where the art was) |
| 20160409 | ONE DAY, I FOUND MY HEAD TATOOED WITH A KEY MODERN
|
| 20160410 | ALWAYS THE ODD ONE OUT (B THAT IS), 2026, PAGE FROM THE NZNL.COM STYLEGUIDE
|
| 20160411 | three candles
|
| 20160412 | PLANT LIFE, 2023, WHITE CUBE, HYSSOPUS OFFICINALIS
|
| 20160413 | untitled (endurance)
|
| 20160414 | untitled |
| 20160415 | untitled (three raindrops)
|
| 20160416 | AND THEY ARE TRAGIC
|
| 20160417 | untitled (diving board)
|
| 20160418 | ODD SOCKS INSTALLATION, 2031, INSTALLATION, 132 ODD SOCKS DEPICTING OBSCURE WORKS BY FORGOTTEN MODERNS
|
| 20160419 |
|
| 20160420 | untitled
|
| 20160421 | YEAH, GREAT IDEA
|
| 20160422 | STUDY FOR A LOT OF DEAD ENDS, 2031, KNIFE WHITTLED PINE, STAINED RED AND GREEN
|
| 20160423 | AFTER THE PARTY, 2022, INSTALLATION, ANIMAL AND BIRD MASKS, STAGE BLOOD
|
| 20160424 | INSTALLATION VIEW AT THE NZNL.COM MEMORIAL HALLS, SHOWING MARCH 2004
|
| 20160425 | untitled
|
| 20160426 | ONE DAY, I SHALL NEITHER DOT MY I'S NOR CROSS MY T'S
|
| 20160427 | THE NZNL MEMORIAL HALL SKYLIGHTS SHOW THEIR SPECTRAL CHARM EVERY DAY AT NOON
|
| 20160428 | untitled
|
| 20160429 | YOU CAN'T UNDERSTAND UNTIL YOU KNOW THE MASTER PLAN
|
| 20160430 | RGB
|
| 20160501 | MEME, RINSE, REPEAT
|
| 20160502 | PASSIFLORA TETRANDRA GROWING FROM CRACKS IN CORNERS OF ONE OF THE SMALLER EXHIBITION HALLS. ALTHOUGH UNINTENDED, THE PLANTS ARE NOW NURTURED BY STAFF. VISITORS TEND TO CONSIDER THEM PART OF THE SHOW.
|
| 20160503 | PLAN FOR THE UNDERGROUND NZNL MEMORIAL HALL ON CAMPBELL ISLAND SHOWING THE THREE HIDDEN ENTRANCES
|
| 20160504 | untitled (nznl.com generator)
|
| 20160505 | WHAT THE WHITE CUBE COULDN'T TEACH US
|
| 20160506 | THE ROCK, 2031, PLASTER OF PARIS, ACRYLICS
|
| 20160507 | untitled (short circuit)
|
| 20160508 | 52.54,10.855 | -52.54,169.145
|
| 20160509 | untitled (big skull)
|
| 20160510 | MY FINGERS BLEED
|
| 20160511 | MODEL FOR A PERFECT HOME, 1952, LACQUERED BALSA, CAST IRON STAND
|
| 20160512 | untitled (abandoned interview)
|
| 20160513 | untitled (plant life)
|
| 20160514 | untitled (spoilage)
|
| 20160515 | TEACH THE WHITE CUBE TO TANGO
|
| 20160516 | untitled (rgb electricity)
|
| 20160517 | untitled (brothers)
|
| 20160518 | YOU KEEP THEM CONFUSED YOU KEEP THEM COMING, 1992, DUSTPAN, PLASTIC EYES, SPARKLES
|
| 20160519 | untitled (symmetry)
|
| 20160520 | LABOUR OF LOVE OR LABOUR OF HATE
|
| 20160521 | VITA VILIS, 1992, URBAN SCULPTURE; REINFORCED ROMAN CONCRETE, GLASS, STEEL, GOLD LEAF (ONE ENTRANCE VERSION)
|
| 20160522 | composition with r,g,b
|
| 20160523 | NZNL.COM STAFF MEET EVERY MORNING AT 10.00 AM SHARP TO DISCUSS THE DAY'S ACTIVITIES
|
| 20160524 | untitled (ravi shankar music)
|
| 20160525 | VITA VILIS, 1992, REINFORCED CONCRETE, GLASS, STEEL (DUAL ENTRANCE VERSION)
|
| 20160526 | untitled (the fruit below)
|
| 20160527 | untitled (brain)
|
| 20160528 | untitled (television sets)
|
| 20160529 | untitled (watching)
|
| 20160530 | untitled (what do you wanna make those eyes at me for)
|
| 20160531 | untitled (two snake tattoos)
|
| 20160601 | YOUR MOVE
|
| 20160602 | untitled (snake pit)
|
| 20160603 | untitled (man in a pin-striped suit)
|
| 20160604 | ANTAGONISTS BECAUSE THEY ARE SO ALIKE
|
| 20160605 | untitled (tree of life)
|
| 20160606 | PROVISIONAL HEAD, AROUND 1965, CONCRETE, PERHAPS REINFORCED, SOMETIMES PAINTED PURPLE
|
| 20160607 | untitled (giant earthworm)
|
| 20160608 | untitled (3 spills)
|
| 20160609 | IT MEANS SO MUCH TO ME
|
| 20160610 | LOVE HATE FATE FAIL
|
| 20160611 | tattooed
|
| 20160612 | ONE DAY, I WILL HAVE MY DRAWINGS DONE BY BEAUTIFUL WOMEN
|
| 20160613 | untitled (snake)
|
| 20160614 | untitled (man in a suit)
|
| 20160615 | SAY YES TO NO AND NO TO YES
|
| 20160616 | GOLD STANDARD, 1971 - , REAL BAR OF GOLD
|
| 20160617 | ...NARROWLY MISSING MR. KENNEDY BUT MORTALLY INJURING TEXAS GOVERNOR JOHN B. CONNALLY
|
| 20160618 | untitled (drip painting)
|
| 20160619 | untitled (monument for the most meaningless word in the english language)
|
| 20160620 | FANTASTICALLY STUPID IDEA
|
| 20160621 | untitled (splash)
|
| 20160622 | WHILE THE CAR IN WHICH SHE WAS TRAVELLING WAS TOTALLY WRECKED, MIRACULOUSLY, PRINCESS DIANA EMERGED UNSCATHED
|
| 20160623 | untitled (falling)
|
| 20160624 | untitled (man in suit carrying stone tablet)
|
| 20160625 | untitled (man in suit)
|
| 20160626 | untitled (man down)
|
| 20160627 | untitled (man bending over backwards)
|
| 20160628 | untitled (shadow)
|
| 20160629 | untitled
|
| 20160630 | untitled (second most meaningless word)
|
| 20160701 | untitled (splash)
|
| 20160702 | untitled (man holding planet)
|
| 20160703 | HATE YOUR LOVE LOVE YOUR HATE
|
| 20160704 | untitled (A4)
|
| 20160705 | untitled (hydra)
|
| 20160706 | untitled (grenade)
|
| 20160707 | untitled (false dawn)
|
| 20160708 | untitled (ears)
|
| 20160709 | untitled (books)
|
| 20160710 | untitled (devouring)
|
| 20160711 | 11 CROWS, 1963, INSTALLATION OF 11 REAL CROWS IN AN OTHERWISE EMPTY WHITE EXHIBITION SPACE
|
| 20160712 | SCULPTURE MADE UP OF MANY NOUGHTS, 1970, MAYBE ALUMINIUM, MAYBE NOT
|
| 20160713 | EVERYONE WILL HAVE SORE EYES
|
| 20160714 | untitled (three men falling)
|
| 20160715 | AS AN ARTIST I KNOW MY PLACE, ELECTRICAL CONDUIT, WIRING, FAMOUS ART GALLERY CRAWLSPACE
|
| 20160716 | untitled (plant life)
|
| 20160717 | untitled
|
| 20160718 | untitled (my scars are within)
|
| 20160719 | EVERTHING IS UNDER FULL CONTROL
|
| 20160720 | untitled (smoker)
|
| 20160721 | untitled (bubbles)
|
| 20160722 | PRECISE RECONSTRUCTION OF JACKSON POLLACKS STUDIO AT 830 SPRINGS FIREPLACE ROAD EAST HAMPTON ON AUGUST 11, 1956,
|
| 20160723 | untitled (low cloud)
|
| 20160724 | Y WILL B HPPY
|
| 20160725 | ABOUT BUILDING, WING OF THE NZNL EXHIBITION HALL CREATED FROM THE TREES ON THE VERY LOCATION
|
| 20160726 | untitled
|
| 20160727 | untitled (building)
|
| 20160728 | untitled (danger from below)
|
| 20160729 | ONE DAY, I WILL FIND MY RAW DIAMOND
|
| 20160730 | untitled (parachutes)
|
| 20160731 | untitled (spill)
|
| 20160801 | untitled (path)
|
| 20160802 | untitled (man with hat)
|
| 20160803 | untitled (smoker)
|
| 20160804 | untitled (fish)
|
| 20160805 | untitled (shadow)
|
| 20160806 | GREAT ART BURNING, 2031, GREAT ART, POSSIBLY REPLICA'S, BURNING
|
| 20160807 | untitled (3 sinking vessels)
|
| 20160808 | untitled
|
| 20160809 | untitled (business woman)
|
| 20160810 | untitled (4 dying businessmen)
|
| 20160811 | untitled (12 flame icons)
|
| 20160812 | untitled (2 business women)
|
| 20160813 | untitled (vultures)
|
| 20160814 | untitled (user icon)
|
| 20160815 | untitled (3 children)
|
| 20160816 | untitled (blind men)
|
| 20160817 | untitled (3 aeroplanes)
|
| 20160818 | untitled (sisters)
|
| 20160819 | untitled (3 businessmen)
|
| 20160820 | untitled (swimmer)
|
| 20160821 | untitled (2 1-trick ponies)
|
| 20160822 | I WANT MY PRIZE
|
| 20160823 | untitled (4 traced davids)
|
| 20160824 | untitled (3 discus throwers)
|
| 20160825 | ONE DAY, I WILL BE BLACK-FACED
|
| 20160826 | M O U N T A I N S
|
| 20160827 | untitled (kiss)
|
| 20160828 | untitled (bomb vector sheet)
|
| 20160829 | untitled (mermaid shadow puppet)
|
| 20160830 | untitled (default avatars)
|
| 20160831 | untitled (angry business woman vector sheet)
|
| 20160901 | untitled (lady outline vector clip art)
|
| 20160902 | untitled (businessman silhouette vector)
|
| 20160903 | untitled (woman slapping a man vector)
|
| 20160904 | OH PLANE PLEASE FALL ON ME
|
| 20160905 | untitled (artist vector)
|
| 20160906 | untitled (deer head silhouette vector)
|
| 20160907 | untitled (ship)
|
| 20160908 | untitled (businessman holding painting)
|
| 20160909 | untitled (adam and eve vector)
|
| 20160910 | untitled (cigarette butts)
|
| 20160911 | untitled (60 avatars)
|
| 20160912 | untitled (deer)
|
| 20160913 | untitled (grass)
|
| 20160914 | LIEBHERR
|
| 20160915 | portrait of james joyce with avatar
|
| 20160916 | untitled (black cats vector)
|
| 20160917 | untitled (crows)
|
| 20160918 | untitled (poison sumac)
|
| 20160919 | untitled (blind photographer)
|
| 20160920 | untitled (foot)
|
| 20160921 | untitled (3 men standing)
|
| 20160922 | untitled (overturned car)
|
| 20160923 | untitled (break dancers)
|
| 20160924 | untitled (crows on a wire)
|
| 20160925 | YOUR WORDS IN MY MOUTH
|
| 20160926 | untitled (and forever after)
|
| 20160927 | untitled (4 car accidents)
|
| 20160928 | AND FOREVER AFTER
|
| 20160929 | untitled (conversation)
|
| 20160930 | untitled (slight gradient)
|
| 20161001 | YOU KNOW ME AND I KNOW YOU
|
| 20161002 | untitled (cliff)
|
| 20161003 | untitled (the collector)
|
| 20161004 | untitled (4 bombs)
|
| 20161005 | untitled (3 arrows)
|
| 20161006 | (head)
|
| 20161007 | (one-sided)
|
| 20161008 | (abstract painting)
|
| 20161009 | TODAY IS A DIFFERENT DAY THAN YESTERDAY
|
| 20161010 | (a counterpoint needs a counterpoint like anyone)
|
| 20161011 | (plant life)
|
| 20161012 | (rgb)
|
| 20161013 | (lights)
|
| 20161014 | POISON IVY
|
| 20161015 | URTICA FEROX
|
| 20161016 | (oak seedling)
|
| 20161017 | 570
|
| 20161018 | A UNIQUE OBJECT OF DESIRE
|
| 20161019 | (untitled thinker)
|
| 20161020 | (woman with hands raised)
|
| 20161021 | (12 blobs)
|
| 20161022 | (12 blobs failing perfection)
|
| 20161023 | 12 blobs
|
| 20161024 | (12 slight imperfections)
|
| 20161025 | UNTITLED, 2023, RECTANGULAR PATCH OF POISON HEMLOCK (CONIUM MACULATUM)
|
| 20161026 | (corner piece)
|
| 20161027 | (power from within)
|
| 20161028 | (corner piece)
|
| 20161029 | ONE DAY, YOU WILL PLAY BACH AND I WILL ROCK AND ROLL
|
| 20161030 | (u shape)
|
| 20161031 | (shop front)
|
| 20161101 | (tiled object)
|
| 20161102 | (never meet your heroes)
|
| 20161103 | (chuck e is in luck tonite)
|
| 20161104 | model for an abstract painting (without the painting)
|
| 20161105 | (3 striped holland blinds)
|
| 20161106 | (composition)
|
| 20161107 | (composition)
|
| 20161108 | (composition)
|
| 20161109 | (composition)
|
| 20161110 | (composition)
|
| 20161111 | (composition)
|
| 20161112 | (composition)
|
| 20161113 | (composition)
|
| 20161114 | (composition)
|
| 20161115 | (composition)
|
| 20161116 | (composition)
|
| 20161117 | (composition)
|
| 20161118 | (composition)
|
| 20161119 | (composition with floor socket) |
| 20161120 | (composition)
|
| 20161121 | (flooding)
|
| 20161122 | (fire)
|
| 20161123 | (weighlessness)
|
| 20161124 | (lost in space)
|
| 20161125 | (6 asteroids)
|
| 20161126 | (starry starry night)
|
| 20161127 | (composition)
|
| 20161128 | (composition)
|
| 20161129 | (composition)
|
| 20161130 | (composition with 3 red paintings)
|
| 20161201 | (composition)
|
| 20161202 | (sky above)
|
| 20161203 | (composition)
|
| 20161204 | (composition)
|
| 20161205 | (composition with tourists)
|
| 20161206 | (paris, london, new york)
|
| 20161207 | (equator)
|
| 20161208 | (maggie, fiordland, nov 2016)
|
| 20161209 | MATIAS, BARNETT PARK, -43.5717962,172.7371777, FEB 2016
|
| 20161210 | (SERGEY, OTEHAKE RIVER, -42.8665796,171.7121005, DEC 2015)
|
| 20161211 | (WOMAN, STAFFORD ST, HOKITIKA, WEST COAST, -42.7159537,170.9640645, DEC 2009)
|
| 20161212 | (CHAPMANS BOUNDARY RD CUST, CANTERBURY, MAY 2012)
|
| 20161213 | (MILL RD CUST, CANTERBURY, MAY 2012)
|
| 20161214 | (RISING BUN BAKERY, CHRISTCHURCH, OCT 2013)
|
| 20161215 | (tourist rail)
|
| 20161216 | (Central Library Peterborough - Te Kete WÄnanga o Peterborough, Christchurch, Feb 2013)
|
| 20161217 | (MOUNT ALBERT ROAD ROUNDABOUT, AUCKLAND, OCT 2015)
|
| 20161218 | (WELLINGTON, ROUNDABOUT DEE ST. THE PARADE, FEB 2015)
|
| 20161219 | (MEMORIAL AVE ROUNDABOUT NEAR CHRISTCHURCH AIRPORT, AUG 2012)
|
| 20161220 | (the octogon, dunedin, nov 2009 - dec 2012)
|
| 20161221 | (THE PARADE, WELLINGTON, FEB 2015)
|
| 20161222 | (MARSHS RD CHRISTCHURCH, CANTERBURY - MAY 2012)
|
| 20161223 | (CUST, CANTERBURY, MAY 2012)
|
| 20161224 | (212 LYTTELTON ST CHRISTCHURCH, CANTERBURY, JUL 2012)
|
| 20161225 | (212 LYTTELTON ST CHRISTCHURCH, CANTERBURY, JUL 2012)
|
| 20161226 | OUR LADY OF VICTORIES, MAIN SOUTH ROAD, CHRISTCHURCH, AUG 2015
|
| 20161227 | MAIN SOUTH ROAD, CHRISTCHURCH, CANTERBURY, AUG 2015
|
| 20161228 | NGA MAHI RD BLENHEIM RD MAIN SOUTH RD EPSOM RD ROUNDABOUT, CHRISTCHURCH, CANTERBURY, JUL 2012
|
| 20161229 | ROUNDABOUT, CHRISTCHURCH, JUL 2012
|
| 20161230 | AIR FORCE MUSEUM OF NEW ZEALAND, CHRISTCHURCH, NOV 2015
|
| 20161231 | SOCKBURN ROUNDABOUT, CHRISTCHURCH, JUL 2012 - AUG 2015
|
| 20170101 | CHRISTCHRCH AIRPORT, SEP 2016
|
| 20170102 | CHRISTCHURCH INTERNATIONAL AIRPORT, SEP 2016
|
| 20170103 | BURGERFUEL, CHRISTCHURCH AIRPORT, MAY 2016
|
| 20170104 | Queenstown Gardens, Nov 2014
|
| 20170105 | MOKE LAKE, AUG 2016
|
| 20170106 | NEAR LAKE HAYES, JAN 2015
|
| 20170107 | QUEENSTOWN, FEB 2014
|
| 20170108 | Cardrona Bra Fence, Dec 2016
|
| 20170109 | ALONG WILTSHIRE ST., ARROWTOWN, OTAGO, DEC 2012
|
| 20170110 | Bush Creek Reserve, Nov 2014
|
| 20170111 | QUEENSTOWN, DEC 2014
|
| 20170112 | GLENORCHY QUEENSTOWN RD BEN LOMOND, OTAGO, DEC 2009
|
| 20170113 | NEAR LAKE DISPUTE, JAN 2017
|
| 20170114 | PASSING A TRUCK, GORE,SOUTHLAND, DEC 2012
|
| 20170115 | MORRIS MINOR FOR SALE, ARROWTOWN, DEC 2012
|
| 20170116 | ARROW LN ARROWTOWN, OTAGO, DEC 2012
|
| 20170117 | NEAR ARROWTOWN, JUL 2013
|
| 20170118 | ARROWTOWN SEP 2015
|
| 20170119 | CARDRONA ALPINE RESORT, JUL 2015
|
| 20170120 | ARROWTOWN, JAN 2016
|
| 20170121 | MOONLIGHT, JAN 2016
|
| 20170122 | SKIPPERS ROAD, NEAR ARROWTOWN, DEC 2016
|
| 20170123 | NEAR MT. TALBOT, OCT 2016
|
| 20170124 | GLENORCHY, OTAGO, NEW ZEALAND, APR 2016
|
| 20170125 | DOUBTFUL SOUND, DEC 2015
|
| 20170126 | HELICOPTER RIDE, JAN 2017
|
| 20170127 | SHANTYTOWN, GREYMOUTH, JAN 2017
|
| 20170128 | ON HORSEBACK, PUNAKAIKI RIVER, OCT 2016
|
| 20170129 | NEAR ASHLEY GORGE, MAR 2016
|
| 20170130 | LEES VALLEY, MAR 2016
|
| 20170131 | CHRISTCHURCH, NOV 2014
|
| 20170201 | CHRISTCHURCH, NOV 2014
|
| 20170202 | RE:START PUBLIC PARKING, CHRISTCHURCH, FEB 2015
|
| 20170203 | ST. MARGARETS COLLEGE, CHRISTCHURCH, AUG 2013
|
| 20170204 | NEW BRIGHTON PIER, NOV 2016
|
| 20170205 | CAFE DEL MAR, CHRISTCHURCH, JUN 2016
|
| 20170206 | ON THE BEACH AT CAVE ROCK, SEP 2016
|
| 20170207 | PEGASUS BAY, NEAR WAIPARA, JAN 2016
|
| 20170208 | FOUR CITIES
|
| 20170209 | ALL STARS INN ON BEALEY, APR 2016
|
| 20170210 | CHRIST'S COLLEGE SCHOOL HOUSE, MAY 2013
|
| 20170211 | CHRISTCHURCH I-SITE VISITOR INFORMATION CENTRE, DEC 2016
|
| 20170212 | MEXICALI FRESH WIGRAM, SEP 2015
|
| 20170213 | BELLE BONNE MOTEL, CHRISTCHURCH, DEC 2016
|
| 20170214 | BLENHEIM ROAD MOTOR LODGE, CHRISTCHURCH, OCT 2016
|
| 20170215 | The Charles Luney Auditorium, Christchurch, Aug 2013
|
| 20170216 | Anytime Fitness Cashmere, Christchurch. May 2016
|
| 20170217 | HORNCASTLE ARENA, CHRISTCHURCH, MAY 2016
|
| 20170218 | NORTH NEW BRIGHTON COMMUNITY CENTRE, JAN 2017
|
| 20170219 | THE COLUMBO, CHRISTCHURCH. APRIL 2016
|
| 20170220 | STAVELEY ST. PHARMACY, CHRISTCHURCH, JAN 2011
|
| 20170221 | MARYVILLE COURTS RETIREMENT VILLAS, CHISTCHURCH, APR 2016
|
| 20170222 | BEFORE THE SHOW, CHRISTCHURCH, APR 2015
|
| 20170223 | MASJID AL NOOR, CHRISTCHURCH, SEPT 2014
|
| 20170224 | ROTHERHAM ST., CHRISTCHURCH, CHRISTMAS 2011
|
| 20170225 | BELLE BONNE MOTEL, CHRISTCHURCH, DEC 2016
|
| 20170227 | SHARNAS DOGGY DAY CARE AND DOG GROOMING, HEI-HEI, CHRISTCHURCH, MAR 2016
|
| 20170228 | RICHMOND, CHRISTCHURCH, OCT 2016
|
| 20170301 | THE RACECOURSE HOTEL & MOTOR LODGE, CHRISTCHURCH, JUN 2016
|
| 20170302 | THE MEADOWS VILLA, CHRISTCHURCH, JAN 2017
|
| 20170303 | PRESTONS SALES OFFICE, CHRISTCHURCH, SEP 2015
|
| 20170304 | CHRISTCHURCH ACCOMMODATION TOP 10 HOLIDAY PARK, OCT 2013
|
| 20170305 | GUN CITY, CHRISTCHURCH, OCT 2012
|
| 20170306 | BURGERFUEL, PAPANUI, CHRISTCHURCH, MAR 2016
|
| 20170307 | MACLEANS ISLAND, CHRISTCHURCH, AUG 2013
|
| 20170308 | ORARI BED AND BREAKFAST, CHRISTCHURCH, NOV 2016
|
| 20170309 | LIMIT ZERO, CHRISTCHURCH, JUN 2015
|
| 20170310 | TAYLORS MISTAKE SURF LIFE SAVING CLUB, CHRISTCHURCH, AUG 2016
|
| 20170311 | BUSH INN CENTRE, RICCARTON, CHRISTCHURCH, OCT 2014
|
| 20170312 | CUTLER PARK, CHRISTCHURCH, DEC 2016
|
| 20170313 | BURWOOD PARK, SHIRLEY, CHRISTCHURCH, FEB 2016
|
| 20170314 | 103 WORCESTER ST CHRISTCHURCH, CANTERBURY, AUG 2015
|
| 20170315 | SUB STATION, RANGIORA, CANTERBURY, MAY 2012
|
| 20170316 | PANEDIA, CHRISTCHURCH, NOV 2014
|
| 20170317 | CASHEL ST, CHRISTCHURCH, FEB 2017
|
| 20170318 | ARTS CENTRE, CHRISTCHURCH, JUL 2007
|
| 20170319 | ARTS CENTRE, CHRISTCHURCH, JAN 2017
|
| 20170320 | LATIMER SQUARE, CHRISTCHURCH JAN 2016
|
| 20170322 | LICHFIELD ST, CHRISTCHURCH NOV 2014
|
| 20170323 | CATHEDRAL OF THE BLESSED SACRAMENT, CHRISTCHURCH, JAN 2017
|
| 20170324 | PHILLIPSTOWN COMMUNITY HUB, CHRISTCHURCH, JAN 2017
|
| 20170325 | CHRISTCHURCH, JAN 2015
|
| 20170326 | NEAR BARDADOS ST., CHRISTCHURCH, JAN 2016
|
| 20170327 | CATHEDRAL SQUARE. CHRISTCHURCH
|
| 20170328 | 14 CLIVE ST CHRISTCHURCH, CANTERBURY
|
| 20170329 | CATHEDRAL SQUARE, CHRISTCHURCH, FEB 2015
|
| 20170330 | LINWOOD LIBRARY / TE KETE WANANGA O IHUTAI CHRISTCHURCH, MAY 2013
|
| 20170331 | BROTHER BRITTEN, CHRISTCHURCH, SEP 2016
|
| 20170401 | MANCHESTER ST, CHRISTCHURCH, NOV 2014
|
| 20170402 | WORCESTER ST. PUBLIC CAR PARK, CHARISTCHURCH, NOV 2014
|
| 20170403 | WORCESTER ST, CHRISTCHURCH, AUG 2012
|
| 20170404 | CHRISTCHRURCH, SEP 2016
|
| 20170405 | HEREFORD ST, CHRISTCHURCH, AUG 2015
|
| 20170406 | COLUMBO ST, CHRISTCHURCH, AUG 2015
|
| 20170407 | Blackwells City Mazda, christchurch, aug 2016
|
| 20170408 | SINCLAIR BUILDERS, CHRISTCHURCH, JUN 2016
|
| 20170409 | CHRISTCHURCH, JUN 2016
|
| 20170410 | HASTINGS RESERVE, CHRISTCHURCH, APR 2017
|
| 20170411 | BELMONT MOTOR INN, CHRISTCHURCH, JAN 2017
|
| 20170412 | ORARI BED AND BREAKFAST, CHRISTCHURCH, NOV 2016
|
| 20170413 | CANTERBURY MUSEUM, CHRISTCHURCH, APR 2013
|
| 20170414 | CASHEL ST CHRISTCHURCH, AUG 2015
|
| 20170415 | MANCHESTER ST, CHRISTCHURCH, AUG 2015
|
| 20170416 | HIGH ST, CHRISTCHURCH, JUN 2016
|
| 20170417 | HEI-HEI RD, CHRISTCHURCH, NOV 2009
|
| 20170418 | TUAM ST. CHRISTCHURCH, AUG 2015
|
| 20170419 | HEAD OVER HEELS, CHRISTCHURCH, MAR 2013
|
| 20170420 | CANTERBURY AP ASSOCIATION, FEB 2015
|
| 20170421 | COTTERILL, CHRIST'S COLLEGE SCHOOL HOUSE, CHRISTCHURCH, MAY 2013 |
| 20170422 | MARGARET MAHY FAMILY PLAYGROUND, CHRISTCHURCH, MAY 2016
|
| 20170423 | 661 - 667 COLOMBO ST CHRISTCHURCH, AUG 2015
|
| 20170424 | CHRISTCHURCH BUS EXCHANGE, COLOMBO ST, AUG 2015
|
| 20170425 | MILLENIUM HOTEL, CATHEDRAL SQUARE, CHRISTCHURCH, AUG 2015
|
| 20170426 | REEBOK CROSSFIT CANTERBURY, CHRISTCHURCH, SEP 2014
|
| 20170427 | WOOLSTON PARK, CHRISTCHURCH, DEC 2016
|
| 20170428 | HAGLEY PARK, CHRISTCHURCH, AUG 2016
|
| 20170429 | TUAM ST, CHRISTCHURCH, JAN 2015
|
| 20170430 | BALLANTYNES, CHRISTCHURCH, OCT 2015
|
| 20170501 | PWC CENTRE CHRISTCHURCH, FEB 2017
|
| 20170502 | LICHFIELD ST, CHRISTCURCH, MAR 2013
|
| 20170503 | HEREFORD ST, CHRISTCHURCH, FEB 2015
|
| 20170504 | ORONTES ST, CHRISTCHURCH, SEP 2016
|
| 20170505 | VANGELIS LN CHRISTCHURCH, AUG 2015
|
| 20170506 | CATHEDRAL SQUARE, CHRISTCHURCH, APR 2016
|
| 20170507 | GLOUCESTER ST, CHRISTCHURCH, JUL 2013
|
| 20170508 | FOLEY TOWERS, CHRISTCHURCH, JAN 2017
|
| 20170509 | KILMORE ST CHRISTCHURCH, AUG 2015
|
| 20170510 | CRACROFT TERRACE, DYERS PASS RD, CHRISTCHURCH, JUL - AUG 2012
|
| 20170511 | DYERS RD, CHRISTCHURCH, AUG 2012
|
| 20170512 | SOUTH BRIGHTON, MAR 2017
|
| 20170513 | MONTREAL ST, CHRISTCHURCH, AUG 2015
|
| 20170514 | EDGEWARE RD, CHRISTCHURCH, AUG 2015
|
| 20170515 | GOLF LINKS RD, CHRISTCHURCH, AUG 2015
|
| 20170516 | PHILLIPSTOWN COMMUNITY HUB, CHRISTCHURCH, JAN 2017
|
| 20170517 | 11 Alloway St Christchurch, Canterbury Street View - Aug 2012
|
| 20170518 | CASS BAY, FEB 2015
|
| 20170519 | LYTTELTON, MAR 2017
|
| 20170520 | LYTTELTON HARBOUR, MAY 2017
|
| 20170521 | QUAIL ISLAND, NOV 2014
|
| 20170522 | QUAIL ISLAND, NOV 2014 (2)
|
| 20170523 | QUAIL ISLAND, NOV 2014
|
| 20170524 | QUAIL ISLAND, NOV 2014
|
| 20170525 | 1533 CUST RD, CUST, MAY 2012
|
| 20170526 | 5 TIPPINGS RD, CUST, NOV 2009
|
| 20170527 | CUST RD, NOV 2009
|
| 20170528 | POYNTZS RD, CUST, MAY 2012
|
| 20170529 | 1959 OXFORD RD CUST, MAY 2012
|
| 20170530 | OXFORD RD STARVATION HILL, MAY 2012
|
| 20170531 | 199 GARTERYS RD CUST, MAY 2013
|
| 20170601 | 1199 OXFORD RD, CUST, MAY 2012
|
| 20170602 | PLASKETT RD, FERNSIDE, MAY 2012
|
| 20170603 | KENNEDYS HILL RD, CUST, MAY 2012
|
| 20170604 | 2047 OXFORD RD, STARVATION HILL, MAY 2012
|
| 20170605 | 297 CATHERWOODS RD, CUST, MAY 2012
|
| 20170606 | 3 Hayland Rd Okuku, Canterbury Street View - May 2012
|
| 20170607 | 731 ASHLEY GORGE RD, GLENTUI, MAY 2012
|
| 20170608 | 1649 CUST RD, CUST, MAY 2012
|
| 20170609 | 1905 TRAM RD, WEST EYRETON, MAY 2012
|
| 20170610 | CUST RD, CUST, MAY 2012 |
| 20170611 | CUST SCHOOL, CUST, MAY 2012
|
| 20170612 | CUST RD, CUST, MAY 2012 | JAN 2008
|
| 20170613 |
|
| 20170614 |
|
| 20170615 | 1035 OXFORD RD, SWANNANOA, MAY 2012
|
| 20170616 |
|
| 20170617 |
|
| 20170618 | 1117 S EYRE RD, SWANNANOA, MAY 2012
|
| 20170619 | 961 S EYRE RD, SWANNANOA, MAY 2012
|
| 20170620 | WARDS RD, OHOKA, MAY 2012
|
| 20170621 | CLARKVILLE, MAY 2012
|
| 20170622 | 123 DOUBLEDAYS RD, KAIAPOI, AUG 2012
|
| 20170623 | 53 DOUBLEDAYS RD, KAIAPOI, AUG 2012
|
| 20170624 |
|
| 20170625 |
|
| 20170626 |
|
| 20170627 |
|
| 20170628 |
|
| 20170629 |
|
| 20170630 |
|
| 20170701 | BURNT HILL RD, EYREWELL FOREST, MAY 2012
|
| 20170702 | 369 BROWNS ROCK RD, BURNT HILL, MAY 2012
|
| 20170703 | 369 BROWNS ROCK RD, BURNT HILL, MAY 2012
|
| 20170704 | 1914 WOODSTOCK RD, VIEW HILL, MAY 2012
|
| 20170705 |
|
| 20170706 | 254 DOMAIN RD, OXFORD, NOV 2009
|
| 20170707 | 433 WRIGHTS RD, SHEFFIELD, MAY 2013
|
| 20170708 |
|
| 20170709 | OXFORD HILL, AUG 2012
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| 20170710 | DEPOT RD, SHEFFIELD, MAY 2012
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| 20170711 |
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| 20170713 |
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| 20170714 | WAIMAKARIRI GORGE BRIDGE, OCT 2016
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| 20170715 |
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| 20170716 |
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| 20170717 |
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| 20170718 | SELF PORTRAIT WITH SUNGLASSES
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| 20170727 | 419 CASHEL ST CHRISTCHURCH
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| 2017078 |
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| 20170801 |
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| 20170806 | 1699 CUST RD, CUST
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| 20170820 | IN THE STUDIO
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| 20170831 | IT WILL COME FROM BEHIND
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| 20170910 | PRESENTING
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| 20170916 |
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| 20170917 | UNTITLED
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| 2170305 | GUN CITY, CHRISTCHURCH, OCT 2012
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