RAYURES
VANISAGE
Tuesday, 6 December 2011
Knit colour techniques
We have been furthering our knowledge of all things knit by exploring colour effects using the machine and a few added on components. The techniques are called- .Rayures and Vanisage. Whilst one involves an apparatus which divides two threads on the chariot into an A and B hole- the threads need to be switched manually to create stripes. For the other, one must attach a large arm (see photo) which automatically changes the thread used. This is more appropriate for complicated techniques which involve 'charge' such as Bourelet, Varieur and Noppé 1/2.
RAYURES
VANISAGE
RAYURES
VANISAGE
I made it to Musée Rodin!
http://www.musee-rodin.fr/en/exhibition/capturing-model
After wanting to go for months, I finally found the time to visit the Rodin Museum and the extraordinary current exhibition- Capturing The Model, Rodin 300 Drawings 1890-1917. The drawing work Rodin completed of a live model was quite independent from his sculpture. In 1896 drawing became a serious carer for him and drawing nudes a daily practice. He was always eager to appraise drawing and in 1910 said "my drawings are the key to my work".
Within the exhibition, the drawings are divided, grouped into specific themes such as cutting out and assembling (collage style) and Dessin Instantané (Instantaneous Drawing) which involved drawing from a live model without letting his eyes look at his sheet of paper. In total, there are 15 groups shown which really demonstrates the diversity in his drawing a skill, which despite having mastered, still remains a relatively unknown talent of his. I am particularly fond of his earlier sketches which are heavily layered. Ink, washes, gouache, hachured pen lines and smudges. The combination of all this medium help build up an image, adding depth and tone to the model's skin and creating a body form. His continuous re-inventing of different techniques show his avid interest in pushing his practice further and experimenting.
The exhibition gave me a real feeling of wanting to start my life drawing classes in London again. But this time leaving my charcoal at home and instead taking inks and pens.
Aside from the exhibition, within the museum and in the beautiful gardens you can see some of Rodin's most celebrated sculptures such as The Thinker. It is a very relaxed atmosphere in which to view the work, almost like wondering around an elegant town house but nonetheless the work is undoubtedly incredible.
Sunday, 4 December 2011
Knitting with colour and adding relief.
I have been continuing with my knitting and thoroughly enjoying it. Despite being able to appreciate the time and slow pace of creation through weaving, there is something equally fulfilling about the quickness of knitting and the ability to experiment with techniques whilst seeing the results almost instantaneously without the constraints of a warp, threading plan etc. I have often been torn between the two and I believe the ability to flit between both specialisms as well as being able to screenprint is something that ENSCI should be applauded for.
The Munch painting provided inspiration for my colour palette I believe I have been able to capture its atmosphere through the careful combination of yarns and the fusion of shades of colour. I am really pleased with the flecked colour within this different Cote Knit samples.
Experimenting with the Plissé and flotté techniques has allowed me to add texture and form into some of my pieces which could form the basis into a whole host of 3D ideas. I am looking forward to Monday's class when we will learn further techniques based on colour, e.g. to create a cloth with a different colour each side.
The Munch painting provided inspiration for my colour palette I believe I have been able to capture its atmosphere through the careful combination of yarns and the fusion of shades of colour. I am really pleased with the flecked colour within this different Cote Knit samples.
Experimenting with the Plissé and flotté techniques has allowed me to add texture and form into some of my pieces which could form the basis into a whole host of 3D ideas. I am looking forward to Monday's class when we will learn further techniques based on colour, e.g. to create a cloth with a different colour each side.
Contemporary Arts, Location, Transition.
Almost more important than the work itself this week, was seeing the transition in the genre of work as we moved through different 'quartiers' of Paris. It had never struck me so evidently before, or maybe it has never really been something I have given much though to but when looking for it the change is incredible.
This week we started near République, a street called Rue Léon Jouhaux in the 10th. Those of you who have a bonne connaissance of Paris will no that this area, well especially this street, is not the sort of place you'd expect an art gallery. And you wouldn't be too far from the truth either. After 10 minutes of trying to explain what we were looking for to some shifty looking guys smoking outside the address we had been given, we (I had arrived with the two Italians) were about to abandon hope and go home. The address belonged to that of a large, highly secure Douane (customs) complex. With an underground loading bay area which resembled the dingy collect by car basement in my local M&S back home. After a while, and much exasperation, a security guard came, grabbed us, pointed to a narrow staircase and told us 3rd floor. Wadding through this bizzare top security warehouse was another 'have to be there to believe it' experience. But we managed to arrive safely. And was it worth all the effort.......no not really.
Inside this large warehouse style space was a 21 metres long, by 6 metres wide "Equality Float" by Thomas Hirschhorn, an artist who hs been chosen to represent Switzerland at the 54th Venice Biennale.
The Float's purpose was to demonstrate the ills and remedies of our community whilst highlighting specifically notions of equality and inequality. Crude sculpture, horrendous photographs (e.g. of decapitated bodies) and an abundance of cheap materials such as plastic flowers were displayed amongst banners and slogans. The Float was decisively political, upfront and bold. To supplement his visual work, the artist had supplied a library full of his research books consisting primarily of political and philosophical essays (e.g. Spinoza, Deleuze, Bataille, Gramsci). Without spending hours reading all the additional articles and books it is not crystal clear exactly what the artist is specifically trying to get at. The float itself, I found an aesthetic horror. Whether or not the artist had wanted to purposefully pass comment on the cheap, tacky, mass production and consumerism dominating our society this was definitely one possible interpretation with the cluttered plastic flowers, pom poms and common white garden chairs.
As a group, we were interestingly divided. Some found the work impacting, intelligent and successful. While others (myself included) found the whole thing visually vulgar, unnecessarily crude and lacking in any careful consideration. I am not keen on artists who are overtly forceful with their message. I personally prefer being presented with something I can think about and interpret on my own as opposed to being pressurized into a pre-decided judgment and conclusion. Timothy was quick to tell us not to dismiss the artist before taking a good look at his other work online and especially that which he completed for the biennale. Having grabbed a quick glance I have the impression that it is more mindfully executed.
After this, we headed off to a small gallery the other side of République on Rue Charlot. Hence crossing from the 19th to the 3rd arrondissement. I remember having a bad experience in a grotty hostel in this area last summer- one which necessitated putting money into a meter in order to get a flow of water and the flicker of an ancient light bulb in the communal shower! I had certainly not noticed any swanky modern galleries being in close proximity during that visit!
The gallery was called Galerie Bernard Jordan and the exhibition- "Entre les fantômes du passé" by Cécile Hummel. The title of the exhibition was the only real incline into the intended message and proposition posed by the work. Hence in a total contrast to the "Equality Float" we really did have to do a lot of thinking, self-interpretation and presumption. I was content with this. Both the work and the gallery were peaceful and pleasant. The photographed old photographs were a particular favourite of mine as I am very keen on the idea of re-interpreting and giving a new lease of life to aged objects.
We continued down Rue Charlot, which is a very trendy street indeed (I suppose we were working our way towards the Marais). The group work within the next space- Gallerie Denise René undoubtedly reminded me of the first exhibition we saw within Bugada & Cargnel Cosmic Galerie (the converted garage space which we frequented twice). The work on display was exceptionally 'sciency' and futuristic. Some were real enthusiasts whilst others felt that it had tipped the art-science scales...in the wrong direction. Personally I don't see a defined boundary within the both. I suppose the science approach has more to do with aesthetic qualities and less with meaning and message. More design than conceptual art? But then I am in no mood to get into the art vs design age old debate. I will simply show a few photos and you can make your own minds up.
Next we headed to Almine Rech Gallery to see the work of an American artist, Aaron Young titled Always Forever Now 20.10.11-22.12.11.
I don't really have much to say about this work as I found it rather uninspiring and decisively commercial. An abundance of American flags and stereotypical motifs..... This was work made to appeal to a consumer which had perhaps restrained the artists imagination, I don't know. What's interesting is that the gallery is located within a popular, prime spot so I suppose the rent is high and the need to sell equally as demanding. It is very unlike the far more experimental, 'out there' artwork on display in some of the small galleries in Belleville where rent would be significantly less and therefore artists perhaps allowed more freedom.
We then headed to our final stop (before the final final stop- the bar!), Galerie Chantal Crousel. Interestingly enough, the "Equality Float" gallery is also owned by Chantal Crousel. This was not my first visit to this space. Back when the summer was warming my back I had come her to watch an interesting piece of video work by Melik Ohanian. Now it was the photographic work of Wolfgang Tillmans on display. Tillmans, a german artist was the first photographer to have won the Turner Prize in 2000 and Timothy also told me that he used to be a reputable fashion photographer in London. In line with my comments on the last exhibition and bearing in mind that this gallery is also within the trendy Marais area, the work is visually pleasing but not exceptionally innovative or experimental.
He has captured a lot of natural phenomena which would certainly appeal to a wide market. At this point I think I should explain that I am not meaning to say this in a pejorative, undermining way. It is just passing comment and trying to understand contemporary art and the location of their exhibitions in a more clarified way. I am in truly in awe of these photos and by saying they are commercially minded it does not make them any more or less honorable than the invisible white on white prints of Belleville.
Anyway next week we are heading south of the river and I can't wait to see what interesting delights and discoveries are in store!
This week we started near République, a street called Rue Léon Jouhaux in the 10th. Those of you who have a bonne connaissance of Paris will no that this area, well especially this street, is not the sort of place you'd expect an art gallery. And you wouldn't be too far from the truth either. After 10 minutes of trying to explain what we were looking for to some shifty looking guys smoking outside the address we had been given, we (I had arrived with the two Italians) were about to abandon hope and go home. The address belonged to that of a large, highly secure Douane (customs) complex. With an underground loading bay area which resembled the dingy collect by car basement in my local M&S back home. After a while, and much exasperation, a security guard came, grabbed us, pointed to a narrow staircase and told us 3rd floor. Wadding through this bizzare top security warehouse was another 'have to be there to believe it' experience. But we managed to arrive safely. And was it worth all the effort.......no not really.
Inside this large warehouse style space was a 21 metres long, by 6 metres wide "Equality Float" by Thomas Hirschhorn, an artist who hs been chosen to represent Switzerland at the 54th Venice Biennale.
The Float's purpose was to demonstrate the ills and remedies of our community whilst highlighting specifically notions of equality and inequality. Crude sculpture, horrendous photographs (e.g. of decapitated bodies) and an abundance of cheap materials such as plastic flowers were displayed amongst banners and slogans. The Float was decisively political, upfront and bold. To supplement his visual work, the artist had supplied a library full of his research books consisting primarily of political and philosophical essays (e.g. Spinoza, Deleuze, Bataille, Gramsci). Without spending hours reading all the additional articles and books it is not crystal clear exactly what the artist is specifically trying to get at. The float itself, I found an aesthetic horror. Whether or not the artist had wanted to purposefully pass comment on the cheap, tacky, mass production and consumerism dominating our society this was definitely one possible interpretation with the cluttered plastic flowers, pom poms and common white garden chairs.
As a group, we were interestingly divided. Some found the work impacting, intelligent and successful. While others (myself included) found the whole thing visually vulgar, unnecessarily crude and lacking in any careful consideration. I am not keen on artists who are overtly forceful with their message. I personally prefer being presented with something I can think about and interpret on my own as opposed to being pressurized into a pre-decided judgment and conclusion. Timothy was quick to tell us not to dismiss the artist before taking a good look at his other work online and especially that which he completed for the biennale. Having grabbed a quick glance I have the impression that it is more mindfully executed.
After this, we headed off to a small gallery the other side of République on Rue Charlot. Hence crossing from the 19th to the 3rd arrondissement. I remember having a bad experience in a grotty hostel in this area last summer- one which necessitated putting money into a meter in order to get a flow of water and the flicker of an ancient light bulb in the communal shower! I had certainly not noticed any swanky modern galleries being in close proximity during that visit!
The gallery was called Galerie Bernard Jordan and the exhibition- "Entre les fantômes du passé" by Cécile Hummel. The title of the exhibition was the only real incline into the intended message and proposition posed by the work. Hence in a total contrast to the "Equality Float" we really did have to do a lot of thinking, self-interpretation and presumption. I was content with this. Both the work and the gallery were peaceful and pleasant. The photographed old photographs were a particular favourite of mine as I am very keen on the idea of re-interpreting and giving a new lease of life to aged objects.
We continued down Rue Charlot, which is a very trendy street indeed (I suppose we were working our way towards the Marais). The group work within the next space- Gallerie Denise René undoubtedly reminded me of the first exhibition we saw within Bugada & Cargnel Cosmic Galerie (the converted garage space which we frequented twice). The work on display was exceptionally 'sciency' and futuristic. Some were real enthusiasts whilst others felt that it had tipped the art-science scales...in the wrong direction. Personally I don't see a defined boundary within the both. I suppose the science approach has more to do with aesthetic qualities and less with meaning and message. More design than conceptual art? But then I am in no mood to get into the art vs design age old debate. I will simply show a few photos and you can make your own minds up.
Next we headed to Almine Rech Gallery to see the work of an American artist, Aaron Young titled Always Forever Now 20.10.11-22.12.11.
I don't really have much to say about this work as I found it rather uninspiring and decisively commercial. An abundance of American flags and stereotypical motifs..... This was work made to appeal to a consumer which had perhaps restrained the artists imagination, I don't know. What's interesting is that the gallery is located within a popular, prime spot so I suppose the rent is high and the need to sell equally as demanding. It is very unlike the far more experimental, 'out there' artwork on display in some of the small galleries in Belleville where rent would be significantly less and therefore artists perhaps allowed more freedom.
We then headed to our final stop (before the final final stop- the bar!), Galerie Chantal Crousel. Interestingly enough, the "Equality Float" gallery is also owned by Chantal Crousel. This was not my first visit to this space. Back when the summer was warming my back I had come her to watch an interesting piece of video work by Melik Ohanian. Now it was the photographic work of Wolfgang Tillmans on display. Tillmans, a german artist was the first photographer to have won the Turner Prize in 2000 and Timothy also told me that he used to be a reputable fashion photographer in London. In line with my comments on the last exhibition and bearing in mind that this gallery is also within the trendy Marais area, the work is visually pleasing but not exceptionally innovative or experimental.
He has captured a lot of natural phenomena which would certainly appeal to a wide market. At this point I think I should explain that I am not meaning to say this in a pejorative, undermining way. It is just passing comment and trying to understand contemporary art and the location of their exhibitions in a more clarified way. I am in truly in awe of these photos and by saying they are commercially minded it does not make them any more or less honorable than the invisible white on white prints of Belleville.
Anyway next week we are heading south of the river and I can't wait to see what interesting delights and discoveries are in store!
Marché aux Puces de Montreuil
Today I took a trip to one of Paris' many flea markets at Place de la Porte de Montreuil. Packed full of oddities, varying from dental instruments to dusty old suitcases, rusty keys to art nouveau gramophones, moth eaten fir coats and bald plastic dolls. One has to sift through the rubbish to find the gems, but I'm certain that with a trained eye and plenty of patience there would be plenty to be found!
Graffiti- to love or loathe?
Paris is certainly a city of contrasts when it comes to urban beauty. In my opinion, the neo-classical, bourgeoisie stone buildings which dominate its cityscape sit awkwardly against walls of chaotic graffiti. Cutting across the elegant and traditional with radical colour and a strong vibe of youth and change, be it rebellion or simply reinvigoration. As you can probably tell I am undecided about my views on graffiti. While yes, I can appreciate it takes extraordinary skill and talent and would definitely consider it an art form, a part of me is hesitant. Does it really accentuate diversity and convey modernity and development or is it really a selfish form of self- expression, marring the beauty of history? I took a visit to a nearby street- Rue des Pyrénées, famed for its graffiti. I watched an artist at work with precision and care. Can one really consider this a defacing blemish on the cityscape?
Saturday, 3 December 2011
Another day...another mercerie!
After yesterday's trip to La Droguerie which was more akin to a boxing day sale than a normal weekday in a haberdasher's shop, today I opted to visit another. Ultramod is near to the metro stop Quatre Septembre and is an amazing find. I was here only to buy nylon sewing machine thread to finish off the edges of my weave samples but was tempted by the incredible selection of buttons, trimmings and all things beautiful! Quieter, with friendly, pleasant staff, this is the mercerie I would most recommend.
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