Archive for year: 2014

3D Futures

Some said that the industrial revolution would do away with craftsmanship.

Will 3D do away with art or do we have 3D futures ?

If everything can be copied and printed in about 100 materials (to date), then will there be such a thing as a ‘unique piece’ or will there be editions of thousands of such ‘unique pieces’? [1]

Adapting to progress has always been a challenge because everything changes.

Change incites change and this often engenders fear.

The ever-transforming creative landscape opens a world of opportunity while igniting the vociferous opinions of the sanctimonious purist.

 

As a sculptor I would have to say that my hands have a raison d’être that defines me.

I use them to sculpt so in a way, we could say that I am limiting myself if I close the door to the creative possibilities that 3D printing might grant us.

There is simply no replacement to modeling a figure.

A body cast can not replace the modeled figure and neither could a scanned figure. (I have seen one and it is not the same.)

A carefully sculpted figure is still not an exact reproduction of a figure, it is an art form.

This is at the core of how we create.

 

However, having said that, is it not wrong to deny the advancement of the process?

While 3D printing will never give the same results as those witnessed when a sculpture is created using one’s hands we should welcome the creative prospects that this new technology could bring.

A machine can, however, allow for new methodologies that could bring about a new art form.

I think it should be viewed as an adventure.

While I must admit that much of the 3D printing I have seen leaves much to be desired (again, because I am a sculptor), let’s look at the amazing things it has brought about in the medical field, for example.

Or the new ability to create very cool looking radiators that massively increase the amount of both water and air flowing through a smaller space than could otherwise be assembled, even if made by hand!

Then there is 4D printing, with the 4th dimension being time. It’s quite amazing!

‘This emerging technology will allow us to print objects that then reshape themselves or self-assemble over time.

Think: a printed cube that folds before your eyes, or a printed pipe able to sense the need to expand or contract.” [2]

 

What could this do for artists who work with ephemeral sculpture?

A whole new world of creative promise presents itself.

The applications of 3D printing in art are to be discovered and developed.

Having an open mind to the future of art history means that while we cannot and would not deny the past, we should not deny the new tools with which to create.

A sculptor will still be a sculptor and a good 3D or 4D printer may simply help us in doing what we do.

  1. https://www.ted.com/talks/avi_reichental_what_s_next_in_3d_printing#t-137054
  2. https://www.ted.com/talks/skylar_tibbits_the_emergence_of_4d_printing

By Blake & Boky

Reconditioning

Reconditioning the mind requires living outside the box.

In both creativity as well as in plain madness.

After all people pay madmen to show them a new way.

That is why there is an art market.

Still, there must be that moment of awe if there is to be Read more

Nietzsches Madman

The idea that was launched by Nietzsche’s madman in 1882 that God is dead [1] is clearly a paradox, since if he has died then he must have been alive at some point.

Of course this makes no sense as God is supposed to be eternal.

 

What the madman was referring to is the death of a shared belief.

Nineteenth century Europe had reached a point with science and philosophy where God simply wasn’t at the center of everything anymore, man was.

Man filled the void that was left behind.

Man turned to nature through science and in doing so killed God.

 

The difficulty that religion and mysticism has is that the focus is on eternity and this afterlife can be seen as a denial of life itself.

As life occurs now, in this moment, not in some imagined future paradise.

 

Nietzsche was also making a statement about intolerance and the lack of ambition to do anything other than to live in mediocrity and conformity.

To him this meant existing within a ‘slave mentality’ that is led by fear and superstition.

The only way out was for man to kill God, only then can man live.

 

The freed man becomes an ‘Übermensch’ (literally translated is ‘Overman’ but is often mistranslated as ‘Superman’).

Zarathustra is Nietzsche’s spokesman who encourages the Übermensch to overcome obstacles and fear with will and courage.

His ‘will to power’ refers to ‘fearlessness’ with true power being self-harmony, self-control and self-realization. [2]

 

While we are trained from birth to live in accordance to the ‘slave mentality’, many of us escape.

If we become creators we can give our world meaning according to our own rules.

Those who have reached the status of Übermensch, are those ready and willing to serve at the same time that they are ready and able to lead. [3]

 

By channeling will and controlling passion we can create something greater than ourselves.

Nietzsche’s madman was mirroring a new world.

Zarathustra speaks to those who find the courage to listen.

Only then is the creator truly unleashed, by his own will to rise above and express his own truth; free to depict his own world without fear.

My path from classical figurative sculpture to my present work, the Spirit Collection, is telling in many ways.

  1. Friedrich Nietzsche, The Gay Science (1882), section 125.
  2. Michael Macrone, Eureka!, Cader company, Inc. 1994.
  3. Friedrich Nietzsche, “Zarathustra’s Prologue”, Thus Spoke Zarathustra (1883).

By Blake & Boky

Art Activist

“What artistic activist aims have in common is a faith that awareness can change the world without any specific follow-through. This is magical thinking.” [1]

While dreaming is quite fitting when discussing artists, the idea that there need not be a specific follow-through is ridiculous! Awareness is a first step but it simply isn’t enough.

Knowing about an issue does not bring about a solution, but it is a start.

According to Duncombe and Lambert, the success of an activist art exhibition can be judged by:

-How much press it got, which would bring public awareness to the issue, but does it automatically bring about change?

-Whether it made people think, thus starting a discussion on the issue.

-Revealing some hidden truth regarding social injustice or corruption, still there won’t necessarily be a transformation just because the cat is out of the bag!

-Expressionism; if the work triggers such strong emotional reaction then it is considered a success; but just because it made me shudder, was the problem fixed?

Activism in art is the reflection of the terrain of warfare having changed from the fields to the venues that provide a new battleground. The goal is social awareness in the hopes of engendering action.
Educating the public on political and social issues can bring about change, but it is only the first step.

Whether we are dreamers who believe in magic or whether we have a more concrete plan with a proper follow-through program that allows for a concrete solution or not, the fact is, we are all trying to bring awareness and make this a better world.

There are hundreds, if not thousands of art activism projects around the world.

The Fragments series is intentional art that aims to shed light on the issue of landmine clearance in post-war areas where military waste was left behind.

We need all the press we can get and hope that the public will reflect upon these issues and join us in this battle to put an end to the killing fields.

Still, for Fragments it doesn’t end there.

The exhibition is only the beginning.

Raising funds to clear the fields is the intention and I think we can safely say that we are succeeding.

– 2007, the Fragments campaign identified and destroyed 318 unexploded weapons in Quang Hung Commune in Vietnam.

– 2008, the Fragments campaign provided funds to the Canadian Landmine Foundation for mine risk education in Afghanistan.

– 2008 Fragments also funded a Landmine Survey that identified 522 Suspected Hazardous Areas in Moxico province in Angola

– 2009 Fragments took part in in funding clearing NATO- dropped cluster munitions in Kosovo.

– 2010, Fragments began support in Cambodia through The Cambodian Landmine Relief Fund.

 

We would like to see Fragments get back to work and are introducing the program in Canada.

We will see a Fragments campaign in 2015.

I am proud to be one of those dreamers and it is my deepest hope that this trend in art will continue because art is about humanity, it has power, and that, is magic.

If you would like to get involved please write us, we would love to hear from you, we can use all the help we can get!

 

  1. http://www.onlineopen.org/columns/activist-art-does-it-work/4

By Blake & Boky

Just Beneath the Surface

Please join us for the Opening of “Just Beneath the Surface”

A Solo exhibition of provocative figures by Blake Ward

Opening: Thursday 9 October from 6 – 9 pm.

Exhibition: 9 October – 8 November 2014  

Articsók Gallery,
1697 St. Clair Avenue West, Toronto ON, Canada

Gallery Hours: Wednesday – Saturday from 12 to 6 pm.

Phone: +1 416 651 5020  Email: info@articsokgallery.com

Web: www.articsokgallery.com

The artist will be in attendance.

Premeditated Art

It occurs to me that art might be premeditated. Or is it?

Millions of considerations and decisions are made before and during creation.

While we have an idea of where we might be going with a piece, do we really know?

Often I see the piece in my mind before I even begin to build it, I have an idea of what I want it to look like, but things always happen in the process.

Happy accidents we call them.

Francis Bacon said: “In my case all painting… is an accident. I foresee it and yet I hardly ever carry it out as I foresee it. It transforms itself by the actual paint. I don’t in fact know very often what the paint will do, and it does many things which are very much better than I could make it do.” [1]
In my case it’s the wax, not the pigment but the idea is the same.

There have been times when I thought I would lose a piece because of a problem with the wax or with the bronze pour and instead what ultimately happened was amazing!

Bacon also said: “All painting is an accident. But it’s also not an accident, because one must select what part of the accident one chooses to preserve.” [2]

The process of making those millions of decisions is what makes the artist.

So who is really creating?

I’ve always sustained that it was the universe creating through me.

However, if Bacon was right then I do bare some degree of responsibility for the ultimate outcome.

The next issue to consider is the way that work of art will affect the viewer.

Will it trigger a reaction?

Will the viewer gasp, cry, or even commit a crime?

Or will the viewer remain indifferent to it.

How much influence on a person can a work of art have?

Can it inspire them to brake the law?

If so, are we, as artists, ultimately responsible for the outcome?

The U.S. Supreme Court, In the case of Brandenburg v. Ohio, held that “expression advocating violent or otherwise illegal behavior only loses First Amendment protection if the expression is directed to inciting or producing imminent lawless behavior, and is likely to result in such action.” [3]

This means that the artist is absolved of any such responsibility as long as the required elements of intent, imminence and probability are not met. [4]

 

1. http://www.egs.edu/library/francis-bacon-artist/quotes/

2. http://www.egs.edu/library/francis-bacon-artist/quotes/

3. http://archive-us.com/us/e/e1music.us/2013-12-30_3434605_72/

4. http://archive-us.com/us/e/e1music.us/2013-12-30_3434605_72/

By Blake & Boky

The Silent Majority

When might we learn enough to stop repeating our history?

When will we overcome our tendency to insist that we are right and the others are wrong?

When will the majority of people stand up to the few who threaten a more tolerant society?

What of the human rights and the rights of women that are denied within Read more

Figurative Alchemy

Opening    “Figurative Alchemy”

Please join us for the Opening of a Solo Exhibition:
Thursday 3 July  2014  from 6pm

Vous êtes invités à vous joindre à nous pour le vernissage de l’exposition
“L’Alchimie Figurative” le jeudi 3 juin, a 18h00 Read more

The Interior

It all began with a simple decision to do things differently.

I wanted to see inside the figure, simply because you rarely see the interior of a bronze sculpture.

As a result my work became an exploration into this exposed interior, which in turn became a quest to underline the importance of that inner world.

I felt a need to understand what we have inside of us, and believe this is important because we often don’t think as much of ourselves as we should.

Often the way others see us is much better than the way we see ourselves.

We deny ourselves the self-esteem that we actually deserve.

In order to comprehend our value we need to seek out the truth about ourselves.

If we could take a good look inside and reflect honestly on what we see; our behavior and values, we might find that we are of more value than we think.

This ignites an awareness that is the staircase leading deeper into the person we really are.

It is this consciousness that will allow us to leave behind some of the old ideas about ourselves.

While it is often very difficult to see through the layers of illusion we have created as a part of our identity, I believe that this look into our inner world, our thoughts and feelings, can lead us toward serenity.

Honest reflection may give us a new perspective.

This may begin simply by asking your self a few questions like; think about the people you respect and admire the most, what are the qualities that garner that respect and can you find those same qualities in yourself?

What are the things that you are passionate about?

What are the things that hold your curiosity and why do they interest you?

What is it in you that makes you different from other people you know?

What would you like someone to write as your epitaph?

Journaling is also a powerful way of investigating the significance of your own feelings and experiences.

It’s a very effective way of developing an understanding into your patterns of behavior.

As your belief in yourself increases, so does your ability to accomplish anything your heart desires.

By Boky and Blake

Forum des Artistes

Please join us for the Opening of a Group Exhibition: Forum des Artistes

Opening    Wednesday June 4th from 6 pm

Vernissage    mercredi 4 juin 2014 à 18:00

Presented by the AFFAIRES CULTURELLES DE MONACO

Exhibition  June 5th -15th 2014      Hours 2 pm – 6 pm Daily

Exposition  5 – 15 Juin 2014  14:00 – 19:00

Auditorium Rainier III –  Monaco

 

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