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Thursday, November 29th
In the making of FACES
 My art practice has always been based on the wonder of the abstract codification of pure thought we call mathematics. I am motivated by the aesthetics of elegant mathematics now in my art as I was as a mathematician in my past. On the other hand I nurture a skeptical viewpoint on the role mathematics play as the inevitable language of choice of science and its prevalence in our lives. My art practice lies within this dialectic - in the contradiction between my two conflicting viewpoints, adopted as the determining factor in their continuing interaction.
In FACES, I confront this dialectic. I engage with my experience of the aesthetics in high level mathematics to paint faces of women that stand prominent in my visual history in the hope to question the ideas that correlate the two and the ramifications that might emanate from any tangible success in such an endeavour.
Rajinder Singh on 11.29.07 @ 02:21 PM EST [more..]
Monday, November 26th
If Everybody had an Ocean…
Brian Wilson, the main singer of the mythical group the Beach Boys in the 60’s, is mainly known for his music. His strong lyrics, his experimental sounds and his visionary style of making music have become an indispensable reference for anyone aspiring to become part of the musical world.
There is, however, another aspect of Brian Wilson that has never, or very rarely, been considered. That is the link he has with the artistic world. Brian Wilson and the Beach Boys, with their intoxicating melodies and their surfing attitude, have influenced many artists, be it from the 1960’s to nowadays, and their use of colours, shapes, and techniques convey a definite impression of the psychedelic pop era that was part of the Beach Boys’ Californian story.
Alice Cavender on 11.26.07 @ 09:13 AM EST [more..]
Thursday, November 22nd
MYSTERIOUS IMAGES APPEAR ON SUBURBAN DRIVEWAY
 I was just pouring my first cup of coffee when my wife gasped. She was looking out the back door window holding her hands up to her face like Munch,s “Scream“. I thought maybe I had run over the cat the night before as I was coming home from school. But no…she was looking at the mysterious images I will show you in a moment. “Where did they come from?” she asked without taking her eyes off them.
“More importantly who made them and what do they mean?” I said thinking that we’ve been visited. These images were the driveway version of crop circles and appear to be space beings floating in a vacuum. “They appear to be some expression of self recognition-- maybe they are trying to communicate with us.” I said.
“But why did they choose to make these icons on our driveway?” asked my wife.
“maybe we’re special!”
Walter King on 11.22.07 @ 09:23 AM EST [more..]
Tuesday, November 20th
My early drawings
 At my last exhibition in Rome, Professore Arturo Carlo Quintavalle persuaded me to show a large selection of drawings I never presented in public before.
I was'nt sure about this decision since the drawings in question dated back to the mid 1940s' in other words back to an age before I became (I think) a painter. Now that that choice has been made, and since I firmly believe that when I write I am at my very best when I talk about my works, let me talk about those early drawings. As in my next blog I will talk, probably with more confidence, about later paintings.
(PS
Before starting this blog let me say a big thanks to our friend Andrew and my son Mario for helping me out in the task of replying to my last blog's comments. Thanks!)
More than a real album of drawings this was rather a series of individual sketches that my sister Leda brought me from the agricultural consortium where she was employed. They were actually bills, or receipts, that I used on the blank side to make the sketches. I had a passion for drawing, so she brought me the paper. I have always drawn, ever since I was a child. I sketched my first two drawings, I believe, when I was seven or eight years old and, unlike the drawings that most children make, they portrayed two old men in 'tapparella', that is, wearing overcoats and sticks. I watched them from the garden of my house as they climbed toward the Abbey on the mountain to eat a simple meal with the monks. My mother folded them and put them in her bag, perhaps imagining that she had discovered a talent in her child. Those drawings certainly made a strong impression on her.
Alberto Sughi on 11.20.07 @ 09:19 AM EST [more..]
Thursday, November 15th
Artists, Toot Your Horn – Tout de suite
Artists are a unique breed in many regards. Whether visual, performing, recording or literary, in order for them to be successful there is an unspoken requirement they learn to talk objectively, passionately and eloquently about their work. Of course, some succeed at these things better than others. But, being able to do effectively is an enormous advantage.
Think about it. Most professionals would cringe at the thought of having to rehash in public, or in the media about their job performance. The vast majority of us work quietly at our jobs with only a few colleagues and even fewer managers having the foggiest notion of what we do, or how well we do it. Imagine if the output or result of your work was to be studied and commented upon by a range of people from those in the profession who might be able to help your career to those with no idea of what you do or how you do it, but who freely comment on whether they like it or not and why. And, that you have to grin and bear it as you hear sometimes dreadful uneducated comments about your work. On the bright side, there are those priceless compliments that balance the negative comments.
Barney Davey on 11.15.07 @ 01:39 PM EST [more..]
Monday, November 12th
ANTICIPATING ART BASEL MIAMI
I don't know what it is about international art fairs, but there's something about them that wakes me up and puts me into this almost hyper-aware state. Everything seems super-clear and my senses become extra-sensory. Suddenly, I become ... ARTMAN! Stand back! There's no art beyond my reach! Of course, it's beyond my wallet, but not my craving.
I expect this to be the case when I attend the upcoming Art Basel Miami Beach in about three weeks. I went in 2005, but didn't go last year which I regret. This time, my flight has long been booked, along with lodging and car rental. There's no way to get around Miami for all of the art action without a car. I've rented a simple, standard car for the week. I just need to get from Point A to Point B ... with myself and the car intact.
Michael Corbin on 11.12.07 @ 08:33 AM EST [more..]
Thursday, November 8th
Identity, Transience and the Eternal Landscape
 Hello from Dubai...
Overlooking an earlier blip this is my first post on the Absolute Arts site so ... hello...
I’m a British artist/teacher/international itinerant who moved reluctantly from London to Dubai in May, anticipating baking heat, constant construction, mega malls, more baking heat and possibly a bit of camel racing. That’s definitely all here BUT I was so pleasantly surprised by the emerging arts scene that I’ve started blogging about art in Dubai.
It all seems to have kicked off in the past few years and there are now several excellent galleries showing diverse and innovative work from all over the world. The first was the Majlis Gallery set up about 10 years ago to promote local artists, emerging regional talent and Dubai based ex-pat artists as well. Since then, many other galleries have appeared and art is becoming much more visible.
Valerie Grove on 11.08.07 @ 08:27 AM EST [more..]
Thursday, November 1st
Doubts, Questions & Certainties [continued...]
 If September started out full of promise, October turned out to be a call back to reality. Too many plans failed to live up to the expectations I had built up over the summer. But when I think about this past month I don’t necessarily see defeat, doubts were cast aside and questions were answered even if they came the hard way.
I had given-in to Fernando’s enthusiasm. I had pledged not to, but by early September I found myself filling in an application form for another biennial and handing over two large paintings. Fernando got his rejection letter first, mine arrived two days later, we both decided to delay retrieving our work until the exhibition was running and we could catch a glimpse of the show in one single trip.
In the meantime we focused on our [OD] group show at the Medical Doctors’ Guild in Lisbon set for the first week of October. The motivation behind this one was that they have a gallery to sponsor the arts and we were on a high to have been fitted in to their calendar – the medical class seemed like an appealing niche to target and the gallery lady’s talk sounded promising.
Jose Freitas Cruz on 11.01.07 @ 08:07 AM EST [more..]
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