still life

I love the calmness in the title ‘Still Life’, and I think of the things I make as 3D still life pics.

Watching the brilliant Gilbert and George on BBC4 last night I was struck by the clarity and logic of their thinking, and am inspired to re-approach the 2D with traditional materials portraying current technology, starting with charcoal. It’s good to get my hands dirty with nothing more than a board and a stick, no blow-torch required (today..).

Snooping around for other artists working along these lines, in addition to the fabulous G&G, I came up with this by the ‘Playful Painter’;

Great that this was painted in 2006 and the technology already looks outdated.

I think that charcoal and my ipad are going to be spending quite a lot of time in each others’ company over the next weeks…

The Battle of Lepanto at Museum Brandhorst

Credit: Annette Kisling

Cy Twombly The Battle of Lepanto, Credit: Annette Kisling, Museum Branhorst

My first art tutor was nuts for Cy Twombly, but I was so terrified of painting at that point, and wrestling with all of it really, that I really stuggled to warm to the huge scale and raw energy of Twombly’s works.

In Germany last summer though I had a day in Munich to myself, and headed to see the newly opened Branhorst Museum. There I eventually spent an hour with the Lepanto works. Quietly overcome.

This from Ellis Woodman on bdonline.co.uk

The rooms on the upper level also vary dramatically in scale but are lit consistently by way of an Okalux light. At present, the whole floor is given over to works by Cy Twombly, some from the Brandhorst collection and a number loaned by the artist but made in response to the spaces of the new building.

Among those from the museum’s own holdings is a series of 12 gigantic canvasses, which depict the 1571 Battle of Lepanto. The Lepanto Cycle is one of the principal monuments of Twombly’s late career and — uniquely among the works in the collection — has been put on permanent display in a gallery that has been tailored to its specific needs.

This room occupies the upper level of the “head” but its plan has been developed independently of the external form. The given geometry of the room has been dummied out by a series of faceting planes, with the effect that as visitors enter through a centrally located door they discover the entire series laid out panoramically in front of them. It really is a tremendous coup de théâtre.