Its good to talk……

I encourage comments & its really easy to leave them on this blog, plus I will respond.
Cheers

so nearly destoyed…..but instead its still in prog

I have made some comments about why this is a troublesome painting over on my F.B page. Later I will add my ‘end of the day’ comments when, hopefully, the painting will still exist.

Painting In progress

To see this painting develop go to my Face Book page where you can also see drawings, influences and diary entries.

Unveiled: New Art from the Middle East at Saachi Jan 30th-May 9th ’09

It has taken me an age to get to the new site for the Saachi collection and exhibits. Worried that Saachi closed his doors when he knew I was travelling to London-Finally I managed to get there and the doors were open.

The new site in Chelsea is a vast improvement on the council biulding near West Minster. The gallery spaces are enormous and light, the building itself seems new and at the same time sympathetic to the Duke of York HQ that houses the gallery, keeping the original architecture happy even though it buts up against the new glass structure of Saachi HQ. And we havnt even got to the Art yet!!

Kader Attia, Ghost 2007, Aluminium foil

Domestic throw away materials create these spirit-less female forms. They are overwhelming as a group magical but hollow at the same time. For me there seemed to be a sadness here (regardless of politics or religion)

‘Bowing in shimmering meditation, their ritual is equally seductive and hollow, questioning modern ideologies – from religion to nationalism and consumerism – in relation to individual identity, social perception, devotion and exclusion. Attia’s Ghost evokes contemplation of the human condition as vulnerable and mortal; his impoverished materials suggest alternative histories or understandings of the world, manifest in individual and temporal experience.’ (Saachi online)

Ramin Haerizadeh, Men of Allah (01), 2008, C-Print

Haerizadeh’s Men Of Allah are influenced by Taaziye, an historic genre of theater popularized in the Qajar dynasty (1794-1925). The plays often tell stories of the life of Mohammed, and are still performed during the Muharram observances which mourn the martyrdom of the Prophet’s decedents. A key element of this theater is that all of the parts are played by men, women being discouraged from entering the acting profession.

Here Haerizadeh places himself in all of the parts, using digital media to create a  traditional visual experience (on some levels). Both ancient and futuristsic.

‘Haerizadeh reworks the codes of gender, body, and sexuality. Intimately grouped and provocatively posed, the figures gather in a perverse harem; their bodies mutating in contorted forms, neither male nor female, but something much more epicurean and exotic’ (Saachi online)

Shirin Fakhim, Tehran Prostitutes, mixed media, life size

‘Shirin Fakhim’s Tehran Prostitutes uses absurd and sympathetic humour to address issues surrounding the Persian working-girl circuit.’ (Saachi online)

These grotesque yet play full sculptures were totally captivating. several were places around the space alone and in groups, The materials are every day, domestic, throw away and in some cases perishable. Its clear that Fakhim is handing the audience taboos to contemplate and as with the best of art that poses these questions we are left asking questions of our own attitudes.

‘ Issues such as female genital mutilation, transgender orientation, homosexuality and cross dressing are all awkwardly broached through her vulgar approximations of stitched up crotches and mis-matched private bits, confusing the brutal, illicit, forbidden and desirous.’ (Saachi online)

These are only 3 of the 20 Artsists exhibiting in this show and I can not recommend it enough. It is shocking at times, often uncomfortable but always brave. Go see.

‘The State She’s In’- Ends.

This past weekend I took down the exhibition at the Fishbone Gallery. ‘The State She’s in’.

In putting this exhibition together I found that I had an enormous amount of supporters and well wishers which went towards me feeling very relaxed and actually enjoying the experience.

I do have some thank you’s to those who offered their support and encouragement-Andrea Hannon, Reza Mosavian, George Saxon, Jeff&Judy, Douglas Rennie and everyone who attending the opening, making it such an enjoyable night and of course those who purchased drawings ( a huge compliment). Thank you.

I thought I would feel a sense of sadness and even loss as paintings were transported to storage BUT instead I felt optimistic and happy to be moving on.

Its fair to say that the work in this exhibition was the beginigs of a departure for me and while the exhibition was on I took that departure and pushed it further which is why I feel such a sense of optimism. I am eager to get on and paint up a storm.

I will continue to blog, HOWEVER I have found a new blog corner on my face book page which is reading more like a diary (possibly because I have indulged in lengthy rambling) but I have also discussed my influences, which has been lacking on this blog page of late.

So thank you again to EVERYONE who helped in the realization of ‘The State She’s In’.

-Corinna