OBJ050523
2023
2023
“Hopscotch”
In Dialogue :
Henry Moore, “Three Women In A Shelter”
1941
Kazumasa Nagai, Unknown Title (taken from “Poster Museum”
Franz Kline, “Working Model for ‘Oval with Points’”
c.1968-1969
JOYCE:RE:
The illustration with the young Student (a symbolic figure for Home-Room) is donning a pair of in-house shorts we had made over at a.Demonstration︎︎︎ and was made to act as promotional material for the Object as much as it was an exercise of expression.
This set includes exerpts from the work of Henry Moore and Kazumasa Nagai- two artists I admire- providing texture and tension both aesthetically and contextually. Moore’s work came to mind after finishing the second figure and just felt right to connect to the set of work.
The second figure (I refer to as the Effigy of the Student) was the result of the initial sketch for what was supposed to be the young Student, but was instead left unfinished and later rendered to look almost sculptural. Despite not being fully realized as its original intent, the Effigy still retains the same momentum found in the (final rendition) Student. A dynamism I found to be essential from the start.
--
Motion in Stillness. Tension in Balance.
Mixed media,
Graphite on paper, 8.5”x11” cut and taped together, Irregular dimension + Digital collage and type,
600dpi
In Dialogue :
Henry Moore, “Three Women In A Shelter”
1941
Kazumasa Nagai, Unknown Title (taken from “Poster Museum”
Franz Kline, “Working Model for ‘Oval with Points’”
c.1968-1969
JOYCE:RE:
The illustration with the young Student (a symbolic figure for Home-Room) is donning a pair of in-house shorts we had made over at a.Demonstration︎︎︎ and was made to act as promotional material for the Object as much as it was an exercise of expression.
This set includes exerpts from the work of Henry Moore and Kazumasa Nagai- two artists I admire- providing texture and tension both aesthetically and contextually. Moore’s work came to mind after finishing the second figure and just felt right to connect to the set of work.
The second figure (I refer to as the Effigy of the Student) was the result of the initial sketch for what was supposed to be the young Student, but was instead left unfinished and later rendered to look almost sculptural. Despite not being fully realized as its original intent, the Effigy still retains the same momentum found in the (final rendition) Student. A dynamism I found to be essential from the start.
--
Motion in Stillness. Tension in Balance.
Mixed media,
Graphite on paper, 8.5”x11” cut and taped together, Irregular dimension + Digital collage and type,
600dpi
Category:
SELF
SELF
OBJ041223
2023
2023
“Inertia”
In Dialogue :
Harald Sohlberg, “Winter Night In The Mountains”︎︎︎
1914
Katsuhiro Otomo, “Akira”
c.1982-1990
Franz Kline, “Scudera”
1961
JOYCE:RE:
“Inertia: A property of matter by which it remains at rest or in uniform motion in the same straight line unless acted upon by some external force”
Caged in one’s Self.
--
This piece features the illustration I made for Cruyff’s album entitled “lovefullstudentnerdthings.”
I was asked by the band to make what I normally would for myself. ( I for some reason have never made art for music with those intentions. ) As a result, the work has appeared so naturally, and its form so versatile- meaning I can make seperate versions of the work ( outside of its context as art for music- ) and all can exist in tandem and develop perpetually.
Mixed media,
Graphite on paper, 8.5”x11” + Digital collage and type,
600dpi
In Dialogue :
Harald Sohlberg, “Winter Night In The Mountains”︎︎︎
1914
Katsuhiro Otomo, “Akira”
c.1982-1990
Franz Kline, “Scudera”
1961
JOYCE:RE:
“Inertia: A property of matter by which it remains at rest or in uniform motion in the same straight line unless acted upon by some external force”
Caged in one’s Self.
--
This piece features the illustration I made for Cruyff’s album entitled “lovefullstudentnerdthings.”
I was asked by the band to make what I normally would for myself. ( I for some reason have never made art for music with those intentions. ) As a result, the work has appeared so naturally, and its form so versatile- meaning I can make seperate versions of the work ( outside of its context as art for music- ) and all can exist in tandem and develop perpetually.
Mixed media,
Graphite on paper, 8.5”x11” + Digital collage and type,
600dpi
Category:
SELF
SELF
OBJ111122
2022
2022
“Sleep, or Lack Thereof”
In Dialogue :
Philip Guston, “Painter In Bed”︎︎︎
1973
Philip Guston, “Pittore”︎︎︎
1973
JOYCE:RE:
(Drawing from) the feeling that my insomnia is my own doing, my own fault. I keep myself awake when I know I have to sleep… When I know I should just do it. Trying to sleep can feel physically draining and it feels like a fight with myself every time I do. A fight I can’t seem to win most of the time. Sometimes I wrestle with myself so intensely that I get exhausted and knock out and wake up in the morning (or in most cases, in the afternoon) before I even realize I had fallen asleep. I feel a prisoner in a confinement of my own design.
In his paintings “Pittore” (1973) and “Painter in Bed” (1973), a particular motif that stuck out to me was the singular eye- And god how they look dry and exhausted.
After seeing one on top of the other, I like to believe that “Pittore” takes place moments after “Painter In Bed.” The eye in “Pittore” looks as though it’s in so much more pain— much more strained and bloodshot. And the presence of the clock is portrayed, looming over the painter, as if to remind him of its presence— to remind him that his time to rest is running out… no, his time on this earth is running out.
...I love the detail of the blanket being so tight, constricting the painter like a strait-jacket. A prisoner of the bed. A prisoner in his human flesh. A prisoner of time. All those things coincide...
Mixed media,
Graphite on paper, 8.5”x11” + Digital collage and type,
600dpi
In Dialogue :
Philip Guston, “Painter In Bed”︎︎︎
1973
Philip Guston, “Pittore”︎︎︎
1973
JOYCE:RE:
(Drawing from) the feeling that my insomnia is my own doing, my own fault. I keep myself awake when I know I have to sleep… When I know I should just do it. Trying to sleep can feel physically draining and it feels like a fight with myself every time I do. A fight I can’t seem to win most of the time. Sometimes I wrestle with myself so intensely that I get exhausted and knock out and wake up in the morning (or in most cases, in the afternoon) before I even realize I had fallen asleep. I feel a prisoner in a confinement of my own design.
In his paintings “Pittore” (1973) and “Painter in Bed” (1973), a particular motif that stuck out to me was the singular eye- And god how they look dry and exhausted.
After seeing one on top of the other, I like to believe that “Pittore” takes place moments after “Painter In Bed.” The eye in “Pittore” looks as though it’s in so much more pain— much more strained and bloodshot. And the presence of the clock is portrayed, looming over the painter, as if to remind him of its presence— to remind him that his time to rest is running out… no, his time on this earth is running out.
...I love the detail of the blanket being so tight, constricting the painter like a strait-jacket. A prisoner of the bed. A prisoner in his human flesh. A prisoner of time. All those things coincide...
Mixed media,
Graphite on paper, 8.5”x11” + Digital collage and type,
600dpi
Category:
SELF
SELF
OBJ082722
2022
2022
“Entombment”
In Dialogue :
Peter Paul Rubens, “The Entombment”
c.1612
Harald Sohlberg, “Winter Night In The Mountains”
1914
Mixed media,
Graphite on paper, 14”x17”
Thermal paper photograph collage on paper, 8.5”x11”
+ Digital collage and type,
600dpi
In Dialogue :
Peter Paul Rubens, “The Entombment”
c.1612
Harald Sohlberg, “Winter Night In The Mountains”
1914
Mixed media,
Graphite on paper, 14”x17”
Thermal paper photograph collage on paper, 8.5”x11”
+ Digital collage and type,
600dpi
Category:
SELF
SELF
OBJ071822
2022
2022
“Blue In Green (Three Takes)”
In Dialogue : Affinities and Rabbit Holes :
Bill Evans Trio, Live performance at BBC Studio︎︎︎
1965
Sylvano Bussotti, “Rhizome”
1959
‘Any point of a rhizome can be connected to anything other, and must be.’
- A Thousand Plateaus, Deleuze & Guattari.
Mixed media,
Graphite on paper, 8.5”x11”
Coloured pencil on paper, 8.5”x 11” + Digital collage and type,
600dpi
In Dialogue : Affinities and Rabbit Holes :
Bill Evans Trio, Live performance at BBC Studio︎︎︎
1965
Sylvano Bussotti, “Rhizome”
1959
‘Any point of a rhizome can be connected to anything other, and must be.’
- A Thousand Plateaus, Deleuze & Guattari.
Mixed media,
Graphite on paper, 8.5”x11”
Coloured pencil on paper, 8.5”x 11” + Digital collage and type,
600dpi
Category:
SELF
SELF
