Cleaners . Oil on panel . 2009
I tweeted Justin’s show at Master Piper a while ago. Today I had to consider why I still hadn’t closed the tab containing the essay and some of the work. It didn’t take me long to solve that riddle: I’ve been looking at it every day. So, in deference to tidy browsers, I thought I’d store it away for myself here.
MASTER PIPER / Artist / Justin Mortimer.
Justin Mortimer Artist Official Website.
l-r: Reclining Dude, lithograph; Tricycle #1, torn steel and chain; Duelling Dickheads, acrylic transfer.
And now to get off the roundablog of art-of-the-moment, and share a little rearview of Peter Walker. Walker was born in London, England, but grew up and studied primarily in western Canada, before switching coasts to practice and teach in Newfoundland and Nova Scotia. Walker has worked in painting, lithography, photography, drawing and sculpture for over forty years. The work is in private and public collections, including that of the National Gallery of Canada. Walker’s work has often been controversial, as it goes to the places we are taught not to go in polite discourse, such as sexuality and religion. Read more courtesy The Art Gallery of Newfoundland and Labrador, the Mount Saint Vincent University Gallery, and the artist’s own site. Or just hang out, offended and abraded, with the images here. The tricycle works, by the way.
Pocket Storms 4, Aleksandra Rdest, 2009
Aleksandra Rdest has been blogged almost as much as Alex Prager lately. That shouldn’t stop me from prettying up my stream with her work, though, should it? Tip: do visit the artist statement, as it reads like this looks.
Pakayla Biehn paints, photographs, installs, draws and designs things. The ones she features on her site are nice. I especially like the paintings of double exposures. Once again, I thank Booooooom! for bringing this up.
You Should Take Care.
The Dogs In The Forest, copyright Karen Barbour
This print is available at Little Paper Planes, and it would make me better every time I would look at it. Hint. It would be a nice change from looking at her wonderful wonderful work on my computer screen. Though I’d still have to loiter there too, because it is LOADED with beauty. See:
| karen barbour |.
“How can an invitation to step onto a painting of a magic carpet, or throw a coin on to a painting of a wishing well create dialog about the social function of painting?”
This opens up a deep crevasse in my mind, separating my logical inclination to dismiss this idea as unrealistic, from my YAY FUN. I think this can be resolved by a simple (and familiar) self-admonishment: do not overthink, Sasu.
No, instead, just continue to gaze with pleasure upon her lovely works online, and hope for an opportunity to experience them sometime offline.
I imagine this Jonas Wood as a sort of compulsive painter, continually painting, unable to stop. I imagine this because the subject matter appears to be every detail of his surroundings, including basketball cards, stacks of stuff in rooms, and people in kitchens and so forth. And milk crates. But I don’t know.
Some of it reminds me of South Park.
Booooooom! sent me there.
Anton Kern Gallery.
In an attempt to reign in my hyperbolic tendencies, I can only take the Fifth here. I want to flip out in this post, so bad, but I don’t want to desensitize you. To cry wolf. So, no words. Maybe just a few letters. OMFG. I should acknowledge Lost At E Minor, who brought me to this exercise of discipline.
You must be logged in to post a comment.