Robert Ryman : Used Paint, Suzanne P. Hudson. 2009.
The wall of the gallery is, of course, the surface of the paintings and the wall is virtually pulled into the paintings. While the concept is important, the work has to do primarily with visual response.
Monitor, 1978. Oil on stretched cotton canvas with metal fasteners and four bolts, a thing of its own , with the wall.
High in the architecture,
Something's moving,
Unrecognisable spirit,
Dislocated
It's fate belongs to another time,
Another place,
Projections of fallen masonry,
Ghosts of a once pagan temple,
Standing empty,
I stand empty,
Nothing ever happens,
A vessel filled
Held and spilled,
Nothing,
A trace from another time,
Another place.
Angels, from Sleepwalkers, David Sylvian.
David Sylvian as a philosopher, a foray into postmodern rock, Leonardo Vittorio Arena.
An architectural
experience where a site/plot becomes a space of interaction, of
mutual subjectivity and inter-subjective identifications.
Drawing attention to
the body's concealment, and a list of more reliable things.
Things that through
reflection and assessment had made her happy in the past.
A site for something
else.
A set of experiences
rather than physical features.
The ambiguous state of
hiding and revelation.
Minimalism, fluid
actualities, spaces between things.
White Paintings, Robert
Ryman.
On the daylight nature
of materials and substances.
The inside of your home
is private and your personal realm of expression, the outside is part
of other people's lives.
Architectures that
determine how to live/movements for living.
Woodman's juxtaposition
of smooth skin and scarred architectural details, alludes to a visual
tactility, a kind of attack on the body's surface. An
undoing/un-fixing of the smooth skin of which female beauty is
assumed to be lodged.
A myriad of textures,
colours, new insertions into the worn character of the old repaired
building.
Home-Studio, as an
autobiographic experience, a place that can be circulated and
incorporated into your lives and personal histories.
Skin-Surface-Subjectivity.
Harriet Katherine
Riches, 2004.
Staged Conjunctions.
Photography and its
phantasm of fusion with the environment and other bodies.
Surfaces, broken down
bearing the marks of neglect and decay, patina and aesthetics.
Evacuating a temporal
recession into the past, revealing layers upon layers, and the
literal tearing or scraping away of the photographic surface.
Asperities between a
bodily discomfort provoked by the interplay of skin with the torn and
peeling sheets of parched wallpaper, and an irritating, scratching, a
pulling away of the delicate layers of the body's skin.
Woodman's paper shell
also evokes the maternal body as a space in from which the
individuated subject emerges.
One needs to feel the
texture of the surfaces and objects in the pictures against
bare-skin, to truly understand what Woodman hoped to achieve in her
work.
Sloan Rankin, Francesca
Woodman, 1998.
Identity becomes
discrete and subjectivity realised.
For each photographic
self-reflection momentarily ensures the continued (mis) recognition
of the subject's own bodily borders falsely acting as mirror like
surfaces which prevent the subject's re-absorption into both herself
and her surroundings.
