And below are some of the works of Isabella Baudelaire a truly magnificent artist.
Friday, 16 July 2010
Isabella Baudelaire and other silhouetted images
I thank Tristan for showing me these images on his blog. I love silhouetted pieces with that sharp defined contrast between black and white.
And below are some of the works of Isabella Baudelaire a truly magnificent artist.
And below are some of the works of Isabella Baudelaire a truly magnificent artist.
Friday, 25 June 2010
Little Red Riding Hood Escape into Her Mind
Here is a little handmade book made up from old cardboard boxes and then coated with scrapbook papers. Added to this were embellishments, rub ons and cut outs from adverts in magazines. This art book has been made by Tatjana Stefanovic.
Come into the mind of Little Red Riding Hood, who is now a young woman and enter her world.
That is a red coat (it looks orange on here somehow).
Captions are: "What's it like to be you?", "Fabulous", next page "Your mother must be so proud."
Come into the mind of Little Red Riding Hood, who is now a young woman and enter her world.
That is a red coat (it looks orange on here somehow).
Captions are: "What's it like to be you?", "Fabulous", next page "Your mother must be so proud."
Love by Stealth
These are some poems that had been written many, many years ago. One of the poems was published in a poetry book, it was also released online where they had changed the copyright date to 2008. What was embarrassing is that it meant people reading it would probably think I wrote it then, no it wasn't written then, so no need for alarm bells; but in the meantime I did get that publisher to take if off if copyright date was for 2008 as one of the poems was time sensitive.
Anyway I printed the poems out and then stuck them into an altered art book. You may be able to read them, but they are unlikely to make sense for the uninitiated.
Front cover where strips of paper from 7 Gypsies has been inked on the edges and then glued down.
This one is called "Enchante". The cut outs have a veneer of mica covering them.
I don't think the typed verses worked so well as this book did not allow for much text to be accommodated because of the large cut outs. Poems: Love's Snare and He Feeds Upon her Face.
These ones are called: Conquered and No End of Satisfaction.
These ones are called: Love's Enchantment and opposite page Enamoured Presence.
And the back cover, of course!
If people are really interested in the poems they can email me and I will send them direct. In all I did 11 poems, but not all included in this altered art book.
Anyway I printed the poems out and then stuck them into an altered art book. You may be able to read them, but they are unlikely to make sense for the uninitiated.
Front cover where strips of paper from 7 Gypsies has been inked on the edges and then glued down.
This one is called "Enchante". The cut outs have a veneer of mica covering them.
I don't think the typed verses worked so well as this book did not allow for much text to be accommodated because of the large cut outs. Poems: Love's Snare and He Feeds Upon her Face.
These ones are called: Conquered and No End of Satisfaction.
These ones are called: Love's Enchantment and opposite page Enamoured Presence.
And the back cover, of course!
If people are really interested in the poems they can email me and I will send them direct. In all I did 11 poems, but not all included in this altered art book.
Sunday, 20 June 2010
Vanitas
Not the nicest thing to look at, but back in the 16th and 17th centuries these were quite popular! The images below are taken from the public domain, I have added them here so one can get the idea of how to make one, or do something similar.
This blog posting is something I am anticipating on experimenting with, and that is doing a vanitas of some sort. I am more likely to collage it rather than draw it.
I've posted some images here if anyone else wants to try their hand at it. Basically vanitas is a Latin word that means 'vanities'. The sixteenth century Dutch painters had quite a penchant for it. It was to be representative of the vanity of life and how easily life is snuffed out and gone. So the artists used symbology to depict life and often used a skull to represent the death of life. Generally they were not meant to appear morbid in that respect.
'Still Life: An Allegory of the Vanities of Human Life' by Harmen Steenwyck is a classic example of a Dutch 'Vanitas' painting. It is essentially a religious works in the guise of a still life. 'Vanitas' paintings caution the viewer to be careful about placing too much importance in the wealth and pleasures of this life, as they could become an obstacle on the path to salvation. The title 'Vanitas' comes from a quotation from the Book of Ecclesiastes 1:2, 'Vanity of vanities, all is vanity.'
Some of the symbols that can be used are:
snuffed candles
skulls (the certainty of death)
flowers (alive or dead)
rotten fruit (about decaying and old age)
ink pottles
smoke
watches
hourglasses
butterflies
seafood
peeled lemon (bitterness)
bubbles
musical instruments
books
regal adornments/ornaments
jewellery (these outlive their wearer)
empty or topped over cup
money
purple silk cloth (wealth again)
Dutch Hendrik Andrieszen
More can be found here and here.
This blog posting is something I am anticipating on experimenting with, and that is doing a vanitas of some sort. I am more likely to collage it rather than draw it.
I've posted some images here if anyone else wants to try their hand at it. Basically vanitas is a Latin word that means 'vanities'. The sixteenth century Dutch painters had quite a penchant for it. It was to be representative of the vanity of life and how easily life is snuffed out and gone. So the artists used symbology to depict life and often used a skull to represent the death of life. Generally they were not meant to appear morbid in that respect.
'Still Life: An Allegory of the Vanities of Human Life' by Harmen Steenwyck is a classic example of a Dutch 'Vanitas' painting. It is essentially a religious works in the guise of a still life. 'Vanitas' paintings caution the viewer to be careful about placing too much importance in the wealth and pleasures of this life, as they could become an obstacle on the path to salvation. The title 'Vanitas' comes from a quotation from the Book of Ecclesiastes 1:2, 'Vanity of vanities, all is vanity.'
Some of the symbols that can be used are:
snuffed candles
skulls (the certainty of death)
flowers (alive or dead)
rotten fruit (about decaying and old age)
ink pottles
smoke
watches
hourglasses
butterflies
seafood
peeled lemon (bitterness)
bubbles
musical instruments
books
regal adornments/ornaments
jewellery (these outlive their wearer)
empty or topped over cup
money
purple silk cloth (wealth again)
Dutch Hendrik Andrieszen
More can be found here and here.
Saturday, 19 June 2010
Visual Exegesis as Psychoanalysis and Spiritual Guidance
Visual exegesis or pictorial exegesis, what is it?
Exegesis is a theological term used to analyse text and is found in the study of hermeneutics.
Traditionally exegesis analysed biblical and religious writings, but now is used in psychology, forensics, to international relations and politics.
Best definition is from the dictionary:
exegesis: n. exposition especially of scripture. Explanation or critical interpretation of a text.
exegetics: n. the scientific study of exegesis and exegetical methods; the science of interpretation.
Then to define visual exegesis we offer a simple definition:
"To interpret the meaning of an image or picture."
It is a blending of theology with psychology to reveal spiritual or subconscious insight. It can be as simple as interpreting an image, without applied meaning.
It is an attempt to explore systematically the aspect of visual formulated allegories in order to establish a more complex spectrum of meaning.
There are three levels of observation:
The two stages:
The image above is going to be an example.
A primary factor involves the degree to which the sender (artist) and the receiver (viewer) share a common world of discourse and experience. This is a doodle and shows how a soul subconsciously connects with another soul.
A third party perspective can be introduced. The interpreter is neither the sender nor the receiver but an 'intruder', an 'outsider'.
One has to be prepared for cultural gaps and historical gaps, depending on work being viewed.
The secondary level is the spiritual meaning – symbolic, typological or allegorical.
Now to outline the method of interpretation:
Redaction Criticism: seeks to let each image speak for itself. It recognises a distinction between what is being said IN the picture and what is being said THROUGH the picture.
Interpretation is through the interpreter's own hypotheses and intuitions (hence the art part of it). The interpreter's research (knowledge of symbology, spirtuality, theology, psychology, colour, lines, shapes, art, etc) all play a role in informing the interpretation; it does not constitute it. The interpreter needs time for synthesis to occur. The interpreter may need more time for further illumination and elaboration.
There are three ways an image/picture can function when using exegesis:
Prophetically: the interpretation of the image provides new viewpoints and different orientations, challenges; sometimes it threatens the identity, self-understanding and customary behaviour of the individual; it may provide prophetic insight or warning.
Advisorily: the interpretation of the image provides the function of a sage or the wise, offers instruction, wisdom or insight – seeks to illuminate.
Finally, there is the meaning and importance of selectivity – the artist is known by selection.
So from this information I have performed a somewhat rudimentary level of exegesis on the doodles shown above.
What is fundamentally important is that the 'exercise' is in no way contrived or manufactured. It can't be done as an 'exercise' as the results would be skewed, the 'conscious' is already involved. It has to be natural. With my illustration the artist did not have the choice of selectivity; I selected the colours to be used. My friend doodles experimenting with different strokes. The next day I look at it and see a side-view of an angel and a Roman torch.
I was sitting with my friend as he doodles his work. I would be subconsciously influencing him by just my sheer presence. He then gives me his doodled art. I am the receiver, it's not something he has done for himself. I explained what I had seen which he was reluctant to acknowledge and mentioned I was stretching my imagination; but those two images were very distinct; other images such as the speech bubble were not as distinct. Both images were drawn in close proximity to where I had been sitting as well.
Then deeper discussion can be entered into once the image is flipped over, as this shows the shadow side to the soul. I won't go into those details apart from realising that it provided all three functions of what exegesis is meant to do.
Exegesis is a theological term used to analyse text and is found in the study of hermeneutics.
Traditionally exegesis analysed biblical and religious writings, but now is used in psychology, forensics, to international relations and politics.
Best definition is from the dictionary:
exegesis: n. exposition especially of scripture. Explanation or critical interpretation of a text.
exegetics: n. the scientific study of exegesis and exegetical methods; the science of interpretation.
Then to define visual exegesis we offer a simple definition:
"To interpret the meaning of an image or picture."
It is a blending of theology with psychology to reveal spiritual or subconscious insight. It can be as simple as interpreting an image, without applied meaning.
It is an attempt to explore systematically the aspect of visual formulated allegories in order to establish a more complex spectrum of meaning.
There are three levels of observation:
- the viewer's viewpoint;
- the artist's viewpoint;
- the exegetical level: the invisible dimension.
The two stages:
- Analysis: involves the breaking down of discrete units of an image (e.g. symbols, shapes, colours, representations, etc). THEN
- Synthesis: putting these into a coherent whole reacting together; metaphors.
The image above is going to be an example.
A primary factor involves the degree to which the sender (artist) and the receiver (viewer) share a common world of discourse and experience. This is a doodle and shows how a soul subconsciously connects with another soul.
A third party perspective can be introduced. The interpreter is neither the sender nor the receiver but an 'intruder', an 'outsider'.
One has to be prepared for cultural gaps and historical gaps, depending on work being viewed.
The secondary level is the spiritual meaning – symbolic, typological or allegorical.
Now to outline the method of interpretation:
Redaction Criticism: seeks to let each image speak for itself. It recognises a distinction between what is being said IN the picture and what is being said THROUGH the picture.
Interpretation is through the interpreter's own hypotheses and intuitions (hence the art part of it). The interpreter's research (knowledge of symbology, spirtuality, theology, psychology, colour, lines, shapes, art, etc) all play a role in informing the interpretation; it does not constitute it. The interpreter needs time for synthesis to occur. The interpreter may need more time for further illumination and elaboration.
There are three ways an image/picture can function when using exegesis:
- constitutively;
- prophetically;
- advisorily.
Prophetically: the interpretation of the image provides new viewpoints and different orientations, challenges; sometimes it threatens the identity, self-understanding and customary behaviour of the individual; it may provide prophetic insight or warning.
Advisorily: the interpretation of the image provides the function of a sage or the wise, offers instruction, wisdom or insight – seeks to illuminate.
Finally, there is the meaning and importance of selectivity – the artist is known by selection.
So from this information I have performed a somewhat rudimentary level of exegesis on the doodles shown above.
What is fundamentally important is that the 'exercise' is in no way contrived or manufactured. It can't be done as an 'exercise' as the results would be skewed, the 'conscious' is already involved. It has to be natural. With my illustration the artist did not have the choice of selectivity; I selected the colours to be used. My friend doodles experimenting with different strokes. The next day I look at it and see a side-view of an angel and a Roman torch.
I was sitting with my friend as he doodles his work. I would be subconsciously influencing him by just my sheer presence. He then gives me his doodled art. I am the receiver, it's not something he has done for himself. I explained what I had seen which he was reluctant to acknowledge and mentioned I was stretching my imagination; but those two images were very distinct; other images such as the speech bubble were not as distinct. Both images were drawn in close proximity to where I had been sitting as well.
Then deeper discussion can be entered into once the image is flipped over, as this shows the shadow side to the soul. I won't go into those details apart from realising that it provided all three functions of what exegesis is meant to do.
On being a genius
I was listening to a client of mine talk about how everyone can have a 'genius' within them. For myself I have a fascination with geniuses and like to spend some time reading their works (because if they were geniuses we certainly have a lot to learn from them). So in my previous posts I have often mentioned them e.g. Daniel (from the bible), to Emily Bronte the author of Wuthering Heights. So on hearing that I realised yes, perhaps everyone does 'have' a genius, but we just haven't nurtured it, cultivated it ... we probably will just allow it to remain dormant. If we don't use our gift, we can lose our gift, right?
As a child, I think many of us received inspiration which was never really harnessed or channelled into something that we say would become more productive or more prevalent in later year. With some children, however, their 'gifting' or 'talent' or 'genius' within them was cultivated, either by themselves, a teacher or a significant other (e.g. partner, parent, sibling, mentor, counsellor, etc). And that genius within them was allowed to flourish. Some of them became famous, others did not, but still like many of us the genius remains locked inside waiting for the 'key' to come and unlock it.
Elizabeth Gilbert author of Eat, Pray and Love concurs that it's not about being a genius, but 'having' a genius. The Greeks called it Daemons (e.g. Socrates) and the Romans called it Genius (that is they acknowledged inspiration from another spiritual dimension). It's about ideas coming into us – as a source from the outside. Elizabeth believes it to be about a glimpse of God; personally I would not accept that everything is from God in the spiritual dimension, as there is light and darkness (Yin Yang principle if you will), but at least that wonderment and inspiration can have the germ of the divine within it, even if that germ only shows the wretchedness of man and his futile condition (as found in a lot of modern culture). This depravity of the human condition mystically shows a need for redemption and the need to rise above. Well, before I start losing you here I'll get back to the programme Elizabeth is on, and she says that the abilities we have are on loan to us, so use what we have got. Show the world your wonderment, have an olay olay experience. [Olay the Spanish word for cheering and applauding, coming to them via the conquests of the Moors who used the word Allah].
As a child, I think many of us received inspiration which was never really harnessed or channelled into something that we say would become more productive or more prevalent in later year. With some children, however, their 'gifting' or 'talent' or 'genius' within them was cultivated, either by themselves, a teacher or a significant other (e.g. partner, parent, sibling, mentor, counsellor, etc). And that genius within them was allowed to flourish. Some of them became famous, others did not, but still like many of us the genius remains locked inside waiting for the 'key' to come and unlock it.
Elizabeth Gilbert author of Eat, Pray and Love concurs that it's not about being a genius, but 'having' a genius. The Greeks called it Daemons (e.g. Socrates) and the Romans called it Genius (that is they acknowledged inspiration from another spiritual dimension). It's about ideas coming into us – as a source from the outside. Elizabeth believes it to be about a glimpse of God; personally I would not accept that everything is from God in the spiritual dimension, as there is light and darkness (Yin Yang principle if you will), but at least that wonderment and inspiration can have the germ of the divine within it, even if that germ only shows the wretchedness of man and his futile condition (as found in a lot of modern culture). This depravity of the human condition mystically shows a need for redemption and the need to rise above. Well, before I start losing you here I'll get back to the programme Elizabeth is on, and she says that the abilities we have are on loan to us, so use what we have got. Show the world your wonderment, have an olay olay experience. [Olay the Spanish word for cheering and applauding, coming to them via the conquests of the Moors who used the word Allah].
Sunday, 30 May 2010
Be a Queen
Be an Alice in Wonderland Queen for the day. Off with your head and all that.
Here I've been very lazy, I've taken art work pre-made from Somerset Studio's latest magazine and then used a cut out card from The Unemployed Philosopher's Guild. And then randomly added snippets of what the Queen banters on about.
Here I've been very lazy, I've taken art work pre-made from Somerset Studio's latest magazine and then used a cut out card from The Unemployed Philosopher's Guild. And then randomly added snippets of what the Queen banters on about.
If truth be told I am covering up a mistake underneath, you can see part of it at the top which I have tried to conveniently attach/join to the new art work.
Friday, 21 May 2010
Canvasses of New Zealand themed paper tole collage
Here are three canvasses my artist Tatjana Stefanovic completed in 2007. I've been sorting out my studio and found them nestled amongst other things in my wunderkammer.
Here she has used paper tole sheets, combined with vintage images and NZ themed artifacts (e.g. paua shell pieces, wooden Maori motif laser cut chip representing the kite). She has also cut up old scrapbook papers and cards.
Here she has used paper tole sheets, combined with vintage images and NZ themed artifacts (e.g. paua shell pieces, wooden Maori motif laser cut chip representing the kite). She has also cut up old scrapbook papers and cards.
Friday, 7 May 2010
The Golden Cockerel
This post today is a bit different. I have done art journalling of a Russian fairy-tale, but because you won't be able to read my handwriting I have typed out the story below for you to enjoy. So grab yourself a cup of tea or coffee and enjoy this fairy-tale.
The Golden Cockerel
A Russian folk story that was made into Rimsky-Korsakov’s Opera: Le Coq D’or
Many hundreds of years ago King Dodon held his Court in old Muscovy. His city was built with the most extravagant fantasy; his palace was sumptuous: his peace-loving people were loyal and he had two sons.
But there was one disturbing factor – the war like neighbours. The worry and expense of organising defence oppressed and bored his majesty, and the advice of his experienced general conflicted with that proffered by his sons, the Princes Guidon and Afron.
Prince Guidon one day suggested consulting the stars; and immediately an astrologer appeared. This personage declared that he could provide King Dodon with a Golden Cockerel, which would send out messages of warning should danger threaten. King Dodon found this solution to his problems difficult to accept at first, but when the Golden Cockerel was produced, and after being presented, declared in a clear voice that his majesty could reign in peace, he was delighted. He accepted the offer of the magical bird, and asked the astrologer to name his reward.
On hearing this question the astrologer began to talk of legal indebtedness and documents – subjects which bored the king to such a degree that he summarily dismissed the astrologer before getting anything settled.
The Golden Cockerel having been installed, King Dodon sank into his luxurious bed and relapsed into slumber, only broken by a dream of a beautiful woman. But soon the Golden Cockerel sounded the alert, and the king’s sons set out at the head of the troops. Their armies fared badly; and in a short while the Golden Cockerel again cried its warming, and the old king was obliged to shake off his lethargy and put on his armour – which had been so long neglected that it was rusty and too small for his ample figure – and sally forth at the head of the remaining troops, followed by the prayers of his loving people, who begged him to avoid running into danger.
When King Dodon reached the scene of action he found tragic proof of the enemy’s success. Corpses were strewn in every direction, and in the centre of the grisly field lay the bodies of his two sons, the Prince Guidon and Afron, each transfixed by a sword, having slain each other by a misapprehension.
At this sight the old king was overcome with grief and burst into tears; but when he had mastered his sorrows sufficiently to look up, his eyes met an astonishing sight. From the stricken field a pavilion, draped in lovely silks, had risen magically; and while the soldiers were apprehensively preparing to defend themselves against attack, a lovely sorceress, the Queen of Shemakhan, stepped forth and invited Dodon and his general to feast with her. The general demurred, and Dodon dismissed him.
The queen then begun to make love to the old king, and he forgot his double bereavement and the nearness of the enemy. In obedience to the cajolings of the sorceress, Dodon even tried to sing and to dance, and, indifferent to the absurd figure he presented, continued to caper and prance until he fell to the ground exhausted yet foolishly triumphant, for the Queen of Shemakhan had promised to become his bride.
A royal procession was then formed to bring the king and his betrothed back to his capital. Dodon and the sorceress rode in a great golden chariot, and their cortège included soldiers, slaves, grotesque giants, dwarfs and one-eyed and dog-headed attendants. A rapturous welcome awaited them on the return to the capital, though the bride’s air of boredom was noticeable to everyone except the besotted king. As soon as they arrived, the sky became overcast, and a clap of thunder heralded the appearance of the astrologer, come to claim his reward for the Golden Cockerel – no less than a demand for the queen of Shemakhan.
At first Dodon imagined this to be a jest, but when he realised that it was a serious claim, he was so overcome with wrath that he struck out with his sceptre at the astrologer – then, feared for the possible results of this rash, impetuous deed, he turned to his bride for consideration, only to be met with peals of laugher, and, which he cowered beneath her scorn, the Golden Cockerel flew towards Dodon and struck him dead with its beak. Thunder sounded once more, night veiled the city; and when the darkness lifted, the Golden Cockerel, the queen and the astrologer had vanished and the sorrowing people were left with the body of their dead king.
More images:
More images:
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| Poster from Bolshoi Russian Ballet and Opera |
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| Kitzeh Golden Cockerel |
Saturday, 1 May 2010
Pierrot clown ATCs
This is a 7 Gypsies ATC stand that I am currently working on.
So far I have done some pierrot clown ATCs.
These ATCs have primarily been made by just using up odd scraps that were homeless, so I've given them a home as their own ATC and they are now mounted onto a special stand.
I will have more to post shortly.
So far I have done some pierrot clown ATCs.
These ATCs have primarily been made by just using up odd scraps that were homeless, so I've given them a home as their own ATC and they are now mounted onto a special stand.
I will have more to post shortly.
Wednesday, 28 April 2010
Doodle Art
I belong to a drawing group and every fortnight we get together just to draw.
So last night it was doodle time for me, the first doodle double page spread was inspired by Indian type images. Originally I was drawings eyes, then a mask and somehow a veil (so that has become somewhat Arabian Nights looking). The opposite page I traced my hand and then added detail to the nails including nail jewellery.
The next two pages were inspired by The Golden Cockerell (a Russian folk story), these two pages didn't quite gel, but it was more about experimenting with colours and shapes more than anything else.
So last night it was doodle time for me, the first doodle double page spread was inspired by Indian type images. Originally I was drawings eyes, then a mask and somehow a veil (so that has become somewhat Arabian Nights looking). The opposite page I traced my hand and then added detail to the nails including nail jewellery.
The next two pages were inspired by The Golden Cockerell (a Russian folk story), these two pages didn't quite gel, but it was more about experimenting with colours and shapes more than anything else.
Laptop Make-over
Well my laptop was getting a little grimy and messy so I thought it was about time I changed its skin.
I've done another 'decopatched' job on my laptop - this time in blue.
I've done another 'decopatched' job on my laptop - this time in blue.
