Friday, December 17, 2010



oblivion

Monday, December 13, 2010

silhouetted

Thursday, December 2, 2010


::poppy::

Thursday, November 11, 2010




regents park

Friday, October 22, 2010



Tuesday, October 5, 2010


edinburgh

Thursday, September 30, 2010



realities of everyday - laundry

Tuesday, September 28, 2010


gone painting

Thursday, September 23, 2010




Sunday, September 12, 2010


sunflower

Wednesday, September 8, 2010



a day in brighton

Sunday, September 5, 2010


light

Wednesday, September 1, 2010


nightsong on the edge
(collaboration with "weltengang")

Thursday, August 12, 2010


time window

Monday, August 9, 2010






the long way home

Thursday, August 5, 2010


the essence (2008)

Sunday, August 1, 2010


hybrid

Saturday, July 31, 2010


No. 5

Wednesday, July 28, 2010



the gate II

Tuesday, July 27, 2010


the gate

Friday, July 23, 2010


squirrels don't lie (2010)


night down rue morgue

Thursday, July 22, 2010


I'm my imaginary twin sister

Wednesday, July 21, 2010


glasgow backyards (2007)

Monday, July 19, 2010

Sia "Breathe Me"

Thursday, July 15, 2010


house of correction (2010)

Wednesday, July 14, 2010


the last man out (2008)

Sunday, July 11, 2010


If I had a rose for every time I thought of you, I'd be picking roses for a lifetime.

Friday, July 9, 2010




the final destination (2008)

Wednesday, June 30, 2010


refractions

Monday, June 28, 2010


the promise of solitude

Friday, June 25, 2010


in your dreams you shall ride

listen to all the pretty little horses

Wednesday, June 23, 2010


[dick]

Monday, June 21, 2010





the waiting game

Friday, June 18, 2010


passage




Saturday, June 12, 2010


the essence of a cat

Wednesday, June 9, 2010


five days on water 2009
oil and mixed media on paper

Monday, June 7, 2010


1892
oil on canvas 2008


Saturday, June 5, 2010


.:fog:.
mixed media on paper 2010

Thursday, June 3, 2010


I've caught the sun

Wednesday, June 2, 2010


louise bourgeois, sculptor (1911-2010)

Louise Bourgeois, the French-born American artist who gained fame late in a long career for her charged abstract sculptures, drawings and prints, died Monday in Manhattan. She was 98.

Ms. Bourgeois’s sculptures in wood, steel, stone and cast rubber, often organic in form and sexually explicit, emotionally aggressive yet witty, covered many stylistic bases. But from first to last they shared a set of repeated themes centered on the human body and its need for nurture and protection in a frightening world.

Protection often translated into images of shelter or home. A gouged lump of cast bronze, for example, suggested an animal’s lair. A tablelike wooden structure with thin, stiltlike legs resembled a house ever threatening to topple. Her series of “Cells” from the early 1990s — installations of old doors, windows, steel fencing and found objects — were meant to be evocations of her childhood, which she claimed as the psychic source of her art.

But it was her images of the body itself, sensual but grotesque, fragmented, often sexually ambiguous, that proved especially memorable. In some cases the body took the abstract form of an upright wooden pole, pierced by a few holes and stuck with nails; in others it appeared as a pair of women’s hands realistically carved in marble and lying, palms open, on a massive stone base.

Among her most familiar sculptures was the much-exhibited “Nature Study” (1984), a headless sphinx with powerful claws and multiple breasts. Perhaps the most provocative was “Fillette” (1968), a large, detached latex phallus. Ms. Bourgeois can be seen carrying this object, nonchalantly tucked under one arm, in a portrait by the photographer Robert Mapplethorpe taken for the catalog of her 1982 retrospective at the Museum of Modern Art. (In the catalog, the Mapplethorpe picture is cropped to show only the artist’s smiling face.)

That retrospective brought Ms. Bourgeois, in her early 70s, the critical and popular acclaim that had long eluded her. In 1993 she represented the United States in the Venice Biennale. In an art world where women had been treated as second-class citizens and were discouraged from dealing with overtly sexual subject matter, she quickly assumed an emblematic presence. Her work was read by many as an assertive feminist statement, her career as an example of perseverance in the face of neglect.

Ms. Bourgeois often spoke of pain as the subject of her art, and fear: fear of the grip of the past, of the uncertainty of the future, of loss in the present.

“The subject of pain is the business I am in,” she said. “To give meaning and shape to frustration and suffering.” She added: “The existence of pain cannot be denied. I propose no remedies or excuses.” Yet it was her gift for universalizing her interior life as a complex spectrum of sensations that made her art so affecting.

Tuesday, June 1, 2010


the distance between night and day