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Visualizzazione post con etichetta giving inspiraction. Mostra tutti i post

venerdì 19 giugno 2015

Katerina Nikoltsou (Greece) for HOUS@RT call

Mailart from Katerina Nikoltsou (Greece)


On a brown background white shapes move circularly, they might be traces of paint, or based cup profiles; not completed in their movement, coming out from the edges of the mailart. Three strips of paper give the impression of a vertical and a horizontal movement, transparent, readable in descending order from right to left, if we observe the edge cut diagonally, coinciding with the next fragment; in the empty spaces, where we expect the continuation of the paper strip, orange circles with ink glyphs lean with the silhouettes on the circular tracks below, creating a relationship between the upper layer and the lower layers of the mailart. The general movement of the surface, therefore, relates to the deepest layers of the background.


Linda French (USA) "Beach... / Bowl... / Subterranean..."

Linda French (USA)
Beach Music / Bowl and Frog / Subterranean Doodad

The envelope containing the mailarts prepared by Linda French for the call is full of colored sheets, and here I come once in a translation problem: I would use the word "campitura" to indicate a concept that I can not translate into English from Italian, I can get close to it only by approximation, I could say hues, shades, fill type and trasparency level, plot below the covering color… but I'm pretty sure I will not make know perfectly the idea.

The window of clear plastic in the envelope which should correspond to the address of the recipient is covered with an additional color crafting, it might seem a graph, a double electroencephalogram in red and purple. Inside the envelope there are three mailarts of the playing cards' sizes.


The first artwork, dated 2013, is titled "Beach Music". It's a web of lines and spaces in black and white, in a sort of winding path and moves without too many sharp corners; the concentric movements delimit spaces filled from different weavings.


The second artwork, dated April 2015, is titled "Bowl and Frog". Under the text print "odd juxtaposition" we find a US postage stamp, depicting a frog of the species "ornate chorus", and just below it a bowl from the stretch sketched, cut out and painted blue. I do not know why, but I had immediately an oriental impression, caming to my mind those zen koan that serve to defuse the traps of logical and channeled way of thinking, in paths preconceived.


The third artwork, dated May 2015, resumed coincidentally my translation difficulties about which I wrote above; it is titled "Subterranean Doodad", and I can not find an italian word to translate the concept of "doodad", if not, perhaps, the concept of "kipple" expressed by P. Dick in his science fiction novels. The mailart presents layering of colored cardboard, dashed to look like rocky patterns, but also perhaps boundaries or topography and elevationt lines; in the background there is a stripe of  a glittering green, and in the center of the composition there is a sort of circular little plastic gear, perforated, as the green stripe in the background. The plastic element in a subterranean natural transforms the composition in a sort of search path, between different meanings and possible interpretations in line with the other two mailarts sent.


mercoledì 17 giugno 2015

"Tunnel Mazemusic" by J. Weirmeir, San Diego, CA USA

TUNNEL MAZEMUSIC
Jude Weirmeir - San Diego, CA, USA





The artwork is revealed as a very special book.
On the back cover, the artist has added the "operating instructions".
On the right side of this page, how to andle the artwork:
the book opens like an accordion, and it has a special cut for the observation.
It makes immediately think of some strange machines of the late nineteenth century,
a kind of cinematographic "trompe l'oeil", a diorama.
On the left of the instruction's page there is an illustration,
the description of the sounds' emission in the human vocal apparatus:
 it combines the physiological  precision with elements very imaginative,
in a sort of pataphysics pseudoscience.







Looking through the window cut,
it is hard to describe "what you see"
both for the amount of detail that for the provision perspective;

- Scores that become labyrinthine paths
- Musical notations that are transformed into graphic signs
- Textual descriptions of sounds, onomatopoeia, signs of path
- Eyes, hands, tongues, palates, silhouettes of human figures
- Brains, cells
- Bicycles, boxes, buildings, parachutes
- Sheeps, divers


The last layer, despite the scrap of the stacked cardboards,
that in every "step" of the gaze reveals more details,
remains instead hidden; in shades of red
hiding perhaps a medieval illustration,
you can only see it "cheating", peering sideways,
compared with the structure
accessible only to the look through the window.



The artwork plays on the sense of depth,
the movement of the viewer's eye,
not only on the horizontal but also in vertical,
in a kind of movement beyond the surface,
grow and unveiling of the totality of the work;
as if, just as the artwork's title says,
we were in a sort of space
enclosed and woven by a musical labyrinth.

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