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Thursday, 22 March 2007
Figuratively speaking
Published :
09:01
Author :
ekkii
Finding the human form is easy. If you know where you're coming from. In some of Meinbert Gozewijn van Soest's recent work the head becomes just an apparently chaotic mash-up of lines and stains. One is tempted to think this is a head. One is tempted to empathize. But if we don't know anything else, what have we really got here? What is apparent? What remains?
The beauty of lineage is that it tells you more than you should know. The figures entangled in their own lines, buried in a mass of accidents, undefined by the very form that describes them, tell us the story. The narrative, the line, the hermeneutic* identity of what would-have-been, all this appears to us if we go beyond the simple drawing of havoc. But can we actually defend this as a principle? Maybe not, but in pragmatic terms, if even the site invites us to a general, overall lecture, to a combining of various phases of Research, then I say, hey, go for it, beyond the Pandorra's box of a depressing painting, into the line that completes it, giving it an entire universe to refer to.
*I can't believe I'm actually using this creepy word...
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- The object-driven touch: Robert Wechsler
- Using walls (p.2): the Splasher controversy
- Using walls (p.1)
- Figuratively speaking
- Artsing human-scale design
- Jason Young's Curling Stones
- Texas Space Banana
- Light the pong
- Marlene Dumas: taking sex seriously
- Two self-portraits
- Two African portraits
- Flexible sofa
- Art for all - and vice versa
- Challenging the world, one billboard at a time
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