‘This is the link to my new Art Portfolio website’, I’m sorry there was a Linkage Leakage. I have changed it to how you see it here: http://www.johnclinockart.com
Please let me know if this link now connects you directly to my new site, OR not. I appreciate your assistance while I sort this out..
I want to clarify that I now have two sites: This one, Art Rat Cafe, that will continue as is and always has been, AND, my new Art Portfolio website that is created with the single purpose and intention of showing my art in as simple and as formal a context as possible.
I welcome your visit and comments.
Altered photo by clinock
I have now published my professional art portfolio website. It is created with the single intention of showing my art in as simple and as formal a context as possible. My business card will point to this new website as will I when seeking the elusive showing opportunity. I welcome your visit and comments.
This is the link to my new art portfolio website: http://www.johnclinockart.com
Art Rat Cafe will, of course, continue. It will often echo the content of my new portfolio Gallery but, as always, elaborated with Gothic hanky-panky, poetry swelling like thunder cloud, beatific blues, food for thought and a roll in the hay.
Uneasy lies the crown
upon so small a head
as he emerges by touch,
by earth and fire,
by skulls and owl magic
to begin the dance.
While ‘renovating’ last year I found a long forgotten plastic tub containing about 10 kilos of clay. Amazingly it was still soft so I began working some small pinch pots that quickly became faces. Immediately I understood they were 3D versions of my painted, 2D ‘Inner Portraits’ series. Soon I had 15 small clay heads, fired and stained with acrylics.
I made wooden stands for the heads but felt they needed more so I created clay and mixed media ‘bodies’ to contain the heads. The first of these was Owl King, shown at top of post. I will share more in future posts.
Art and poem by Clinock.
Sculpture: Owl King by Clinock. Height 6” x Width 5” x Depth 6” (varies). Fired and stained clay / Collaged and painted doll’s arm / Beads.
Part 2: Brian Eno covers Kurt Schwitters.
Extract from VAG’s write up on Jacques Villegle:
“The idea was really to take what was out there in the street and basically just select a section of it and frame it. All the work was really done by someone else, time passing, or the weather.”
“In the 1930s, the poster was called the “journal (newspaper) of the street,” something that really reflected society. And what I think I realized at the time was that the posters, as an art form, were always going to evolve and so there would always be something new to explore. In the 1950s for example, photography was not used in posters, it was still drawings.”
A keen observer of urban art and society, each of his works bears the name of the street where the poster was collected. For Villeglé the posters are as much witnesses as they are actors in their environment, and while he makes the choice of framing the final image, he is completely absent from the actual execution of the works, which have been created by an anonymous collective, which is why he describes his ripped posters as “lacères anonymes.”
Credits: All images, except the first and last, and all descriptors were photographed at the Vancouver Art Gallery (VAG) by clinock. Thanks to the VAG.
The first and last images thanks to Google Images.
Villegle quotes in italics and final write-up on the artist thanks to http://www.blouinartinfo.com
warm and salty winds
caress bones and sad singing
of a dancing past
The Carnival is Over. 18×14″. Acrylic on paper on panel.
Painting and haiku by clinock.
“My left hand is my thinking hand. The right is only a motor hand. This holds the hammer. The left hand, the thinking hand, must be relaxed, sensitive. The rhythms of thought pass through the fingers and grip of this hand into the stone. It is also a listening hand. It listens for basic weaknesses of flaws in the stone; for the possibility or imminence of fractures.”
“Before I start carving the idea must be almost complete. I say ‘almost’ because the really important thing seems to be the sculptor’s ability to let her intuition guide her over the gap between conception and realization without compromising the integrity of the original idea; the point being that the material has vitality – it resists and makes demands….”
Dame Barbara Hepworth. 1903 – 1975.
Credits to Google images and Wikipedia.
Figure for Landscape. Dame Barbara Hepworth. 1960.
Sphere with Inner Form. Dame Barbara Hepworth. 1963.
Spring. Dame Barbara Hepworth. 1966.
Artist’s Studio (preserved). St. Ives. Cornwall, England.