Tuesday 27 December 2011

It's Ludwig Van!


Tim has proven time and time again that he is a master of the fantastic. But he's also a master of the naturalistic, as anyone who's seen his portraits can attest. One of his portraits, "Ode to Joy" -- his rendering of a laughing Ludwig Van Beethoven -- has been offered as a limited edition, but it is now available in model kit form, and much smaller, to boot. Standing only 5.75 inches tall with its base, this new kit is now available over in the Tim Bruckner Shop (www.timbrucknershop.com), and at $50 is an affordable way to show your love of the composer (or the movie "A Clockwork Orange").

Friday 23 December 2011

Mr. B's Bookkeeper: Introducing the First Model Kit with Modular Expression


In recent months, Tim (Bruckner, Pop Sculpture co-author) has immersed himself in the world of garage kits, a category he's dabbled in in the past, but one he is now exploring fully through his online store, timbrucknershop.com. His latest kit, Mr. B's Bookkeeper, features a new innovation that hasn't been seen in kits before -- ME (modular expression) busts. With six different eye pieces (three left, three right) and six different mouth pieces (three top, three bottom), the bust can be assembled 81 different ways, which has to be some kind of a record. Pick yours up in the shop, and check out all of the different ways it can be assembled below!






Wednesday 7 December 2011

After Fishing


"Last will and Testament" by Mariusz Hermanowicz (with Zygmunt Hermanowicz) was an instant crush for me.

After his father's death, Mariusz Hermanowicz discovers, among the things the father left, boxes filled with fishing lures of his father's own design. Some of the lures are finished, many seem more like prototypes, projects. There are also drawings, parts, materials. A universe of lures.
The father, you see, loved fishing. But he was never satisfied with the lures he had. He kept saying how he would make some of his own, which would allow him to catch many more fish. And kept picking things up from the ground, saying they would be perfect for the lure. "But I had never heard that he ever started doing anything from the things he found".
So what are these objects? Have they ever been used? Were they supposed to be used?
"Did he ever try to catch fish with them? Would any fish get caught on them?"

I am in love with this project.
Need I say more?
Would you like me to rationalize love?
(Of course, if you are reading any of this, it is because, like readers of poetry, you believe words go far beyond any silly logos-stories.)



Here are my quasireasons, then:
I love that violence can turn into passion which can turn into art.


The ideal sublimation.
The utopic idea that someone can move from aggression to beauty.


The uncertain heritage. The ambiguity of what remains.



I guess, it is also the ambiguity of what is already there, of what we do, of our own motivations.


The bait transforms into the fish.


The challenge of seducing the fish becomes the fish's seduction.
The man identifies with the fish to the extent that these little pieces of metal, plastic and wood become a representation of fish, or more, like African masks, they are now a reality of their own, with their peculiar morphology and purposeful abstraction.

Yet there is nothing pragmatic about this purpose. There is madness in this reason.

It is a mad inner dialogue with a fish that will never be caught. The fish that blissfuly remains the being-to-correspond. Transforming these carefuly selected pieces of material into the lure that caught me.

(Be sure to see the entire gallery - the series develops at a great pace.)