Lane Twitchell @Roebling Hall606 West 26th Street
kinda really bad.
but it's ethnographic AND ombre, which are, like, SOOO hot right now in the fashion world.
Charlie busted a gut over it. The bilateral symmetry is always pleasing/healing, though my personal metabolism isn't skewing in that direction these days. It refuses to be healed. There's a lot of order here, hippy dippy as it may look, which doesnt reflect what I'm taking in. We americans pay a lot for our comfort, safety and delusion. A lot of work (ethic). Which is great when you're a tibetan monk making a sand painting only to wipe it away when you are done. Or an obsessive, and you can't help yrself. Perhaps this work is along those lines? Not sure.Oh ombre yeah. Just a gradation, split fount, thing but people love it. Simple way to create space, too. Like a desert sunset/rise.
Hey Annie, my ombre, que pasa senorita? But is this a painting or a drawing? dundun dah.... or a collage, those always pop up in war times ya know, at least that what Whitney told me. Hippy dippy because of the earth tones? Sunset over Santa Fe?I don't get any type of lauding of work ethic from this, maybe if it didn't have the fold down the middle and I had to assume the artist was competent enough to repeat the design mirrored by hand, but he/she rorsacht(sp)it. That an economical effort.Maybe if I could see it up closer and decypher what all those shapes really are it mught mean something to me, maybe. It looks like a bishops mitre some oil derricks and a grill (the slang mouth type).John McCain detests War.
Gradient background with a solid color silk screened over the top always appeals to me. Like apocalyptic sunsets through the trees. Which this isn't even.But i've never been too into wood block prints, lino cuts or scratchboard - though a good etching is pretty neat. The hand of the artist can be too evocative of mediocre poetry readings by fauxhemians sometimes.Potato prints, now thats pretty interesting as a medium - I did that back in 1990 or so. Curate me in bro. I do scrap booking.I've always liked mandalas - but in that sense I find them easy - like the grid. Not to be puritanical but that stuff is a cakewalk for most people.SO formally I;d have to say this is precocious high school art class project. Or a good book cover for a university press literary collection. Conceptually? I'll have to do a close read, but signs point to heavy handed social retro irono afro diaspora stuff. Why not just do it bro? Irony can be really subtle sometimes, don't let the painting be just another smoking gun poster. Ride the bullet to the atomic cloud.
who shall say where the one ends and the other begins?
from his own twitchell
Lane says...Yes #16 as the “impecible” Ruscha always said, “I’m after the huh? wow! as opposed to the wow! huh?”Sadly I think my work is mostly “wow! huh?”But as Warhol would say, “get it exactly wrong”Perhaps.
ummm....anyway, i like boldness. it's laser cut.
Mr. Twitchell was born in Salt Lake City, Utah in 1967. After completing his BFA at the University of Utah in 1993, he moved East to pursue his MFA at the School of Visual Arts in Manhattan. Five years later Mr. Twitchell created a method of art making that, as Mr. Piché writes, allows Twitchell to "acknowledge his Mormon upbringing and respond to contemporary art ways."The artist himself describes paper cutting as "a material-based solution to the modernist focus on painting." He begins his laborious and sequential process with a large sheet of architectural vellum, four to six feet square, which he folds and hand-cuts in the manner of children's paper snowflakes. The resulting designs are then mounted to a Plexiglas fronted panel, under and over painted, glazed with acrylic polymers, and selectively re-cut to reveal traces of earlier surfaces.While the viewer is immediately engaged by the color and pattern of Mr. Twitchell's work, the paintings are also filled with references to complex narratives often drawn from his Mormon upbringing and from the artistic and cultural dynamics of New York City. In his effort to reëstablish a sort of faith system in his post-Mormon life, he also searches for meaningful connections in seemingly random events. Underpinning many of his paintings are interwoven references to coincidental alignments among people, places, dates, and events.Are We Not Men?
anyone ever watch big love-the show about mormon polygamists? like you want MORE relatives. HA
marden smokes pot? I never would have guessed. Thanks wayne!!!When Saskia was little, she had a dream in which she was trapped in a golden egg floating all alone through space. She was surrounded by pitch black darkness, devoid of any stars, and she had to stay there forever, unable to die. There was only one hope. Somewhere in the universe there was another golden egg. If they collided, both of them would be destroyed and the nightmare would be over. But the universe is so huge!
But if the egg were almost half the size of the universe, then bang! egg on everyone's face. this reminds me of an interior of a restaurant I went to recently. Great Thai noodle and chili soft crab. Here you can see as it all goes down--the esophagus. Cool stuff--almost outsider!
So how long would it take you to do one of these in Adobe Illustrator, Zip?
from a high contrast (pencil or pen scanned into photoshop, cleaned up and imported into illustrator) drawing its pretty easy - a lot of "autotrace." with some cleanup - what file formats do laser cutters use? How much is a laser cutter? How big can the paper be? That's why they call it capitalism. SO I guess in my mind artists who use fabricators (laser cutters, CNC routers, 3d "rapid prototyping" printers) are always sort of referencing labor, capitalism, NAFTA, that sort of thing.I'd charge for a day rate and try to finish before happy hour. Trade secret.Manyana
Whoah!I can see a face in this one!
you're dangerous dude.Get off my wave.
Well OK, How about just - Whoah!
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