monticello #3, 2001
my recent posts are devoid of color. is it a subconcious strategy? its the times, the times. its the season. fall was always darker. its the sad, concrete state of affairs. still there is room for eloquence.
eloquence can shake and stir just as well.
take james casabere. now context makes his work even more gripping. pale, drowning, muted landmarks...
if that's not enough, add his spanking one-hell-of-a-studio by david adjaye.
like the old 80s pop-tarts add
so cool they're hot
more
2 comments:
"...the primary idea is to create a transition from the outside world to the world of thinking and creating.”
hmm... enticing
so, in London, 2002, i believe it was the Saatchi gallery (but it might have been the Tate) i saw this whole-room piece from some artist (whose name i couldn't remember to save my life) which consisted of a little corridor that led to room (but stopped with a sortof door-little-wall that met you up to the waist just as you were about to step in), & when you got there... only the smell gave off the secret... you saw a dream-like, surreal, perfect space, where the ceiling was exactly like the floor, a perfectly mirrored room... all black & white, the mirror really being a huge poop of black oil... calm, so calm and dark it became invisible... or rather it created a disturbing (& ironic) illusion of clean empty space, nothing air within...
strangely enticing too
i think any sincere creative enterprise has a similar objective. and then to go back to the outside...
i don't know why we usually repel nightmares. the things could come out of them...
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