© 2023 Simon Findlay
© 2023 Simon Findlay
细节
© 2023 Simon Findlay
细节
© 2023 Simon Findlay
细节
© 2023 Simon Findlay
细节
© 2023 Simon Findlay
细节
© 2023 Simon Findlay
细节
© 2023 Simon Findlay
细节
© 2023 Simon Findlay
细节
© 2023 Simon Findlay
情境中的艺术品
© 2023 Simon Findlay
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Marking The Shadows Of Passing Trains / 12:51-1:31pm 16.12 (2023) 绘画 由 Simon Findlay
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丙烯在帆布上, 59.1x47.2 in
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Marking The Shadows Of Passing Trains / 12:51-1:31pm 16.12.2023 / Don’t Try To Reach A Neutral. Day 1 - Throwing paint with a broom. Day 2 - Gestural lines with a long pole and then folding it whilst it’s still wet. Day 3 - Marking the shadows of passing trains. Painted outside in 0'C. Translating the awareness of time (time of day, time of year) via [...]
Marking The Shadows Of Passing Trains / 12:51-1:31pm 16.12.2023 / Don’t Try To Reach A Neutral
Day 1 - Throwing paint with a broom.
Day 2 - Gestural lines with a long pole and then folding it whilst it’s still wet.
Day 3 - Marking the shadows of passing trains.
Painted outside in 0'C.
Translating the awareness of time (time of day, time of year) via the specificness of shadows onto a physical medium. The Winter solstice occurred five days after this piece. For the most part, trains coming from either end are marked with the same brush, however this changes towards the end, becoming more non-selective with bucket choice.
There is a moment after you have painted for a whole day, when you stop and you look up at what you have done, and see that it is absolutely terrible. Terrible in form, in colour, in concept. Unappealing and inconsistent in almost every way. And in that moment, that is completely artistic freedom, for you know that having tried more than a dozen ways to slice and dice this piece, that you cannot fail more than where you are right now.
I experienced that with this work, it was what drove me to rip it off the wall whilst still wet and to fold it, transforming it in a way that was novel to myself.
This ongoing practice is focused on being in intense physical situations, as a way to engage with unconscious compositional processes and to remain more present throughout.
Day 1 - Throwing paint with a broom.
Day 2 - Gestural lines with a long pole and then folding it whilst it’s still wet.
Day 3 - Marking the shadows of passing trains.
Painted outside in 0'C.
Translating the awareness of time (time of day, time of year) via the specificness of shadows onto a physical medium. The Winter solstice occurred five days after this piece. For the most part, trains coming from either end are marked with the same brush, however this changes towards the end, becoming more non-selective with bucket choice.
There is a moment after you have painted for a whole day, when you stop and you look up at what you have done, and see that it is absolutely terrible. Terrible in form, in colour, in concept. Unappealing and inconsistent in almost every way. And in that moment, that is completely artistic freedom, for you know that having tried more than a dozen ways to slice and dice this piece, that you cannot fail more than where you are right now.
I experienced that with this work, it was what drove me to rip it off the wall whilst still wet and to fold it, transforming it in a way that was novel to myself.
This ongoing practice is focused on being in intense physical situations, as a way to engage with unconscious compositional processes and to remain more present throughout.
相关主题
抽象主义
geometric
process based
performance
contemporary
conceptual
process
Berlin
outdoor
broom
messy
dark
light
Simon Findlay 是一位当代艺术家，自 2016 年起居住在德国柏林。他的作品通过持久而实验性的视觉表达，探索与色彩之间深刻的个人关系。Simon 的艺术实践以过程为导向，并经常融入挑战传统绘画方法的表演元素。. 他的表演包括独特而大胆的表演，例如身穿短裤在暴风雪中扔石头、将调色板限制为整整一年的蓝色、尝试使用扫帚和弯曲的棍子等非常规绘画工具来延长画笔。他还参与过撕开和重新装订画布、在音乐家的伴奏下将颜料扔进透明立方体等表演，以及令人难忘的站在洗衣机顶上将颜料瓶扔向地面的表演。. [...]
Simon Findlay 是一位当代艺术家，自 2016 年起居住在德国柏林。他的作品通过持久而实验性的视觉表达，探索与色彩之间深刻的个人关系。Simon 的艺术实践以过程为导向，并经常融入挑战传统绘画方法的表演元素。
他的表演包括独特而大胆的表演，例如身穿短裤在暴风雪中扔石头、将调色板限制为整整一年的蓝色、尝试使用扫帚和弯曲的棍子等非常规绘画工具来延长画笔。他还参与过撕开和重新装订画布、在音乐家的伴奏下将颜料扔进透明立方体等表演，以及令人难忘的站在洗衣机顶上将颜料瓶扔向地面的表演。
西蒙的艺术体现了他对色彩、形式和表现的不断探索，以意想不到的、充满活力的方式突破了视觉艺术的界限。
艺术家在 ArtMajeur 杂志的一篇文章中被强调:
Simon Findlay：我有点儿不追求灵感
