Michael Borremans: http://www.zeno-x.com/artists/michael_borremans.htm
Jim Shaw: http://www.simonleegallery.com/Artists/Jim_Shaw/Selected_Works
The task is to look at the work of the 3 artists above whose work "both creates and denies three dimensions at the same time"
I was interested in Angela Eames aim "not to get lost in the shine" though I'm not sure she has achieved this. The work on her site is from the early days of computer generated art and needs to be viewed with that in mind, it was both a novel format and something that is naturally smooth, regular and shiny. Her on site drawings of the Huf Haus and the Dubai Arts Gallery are less shiny and use conventional devices of perspective and lines to suggest depth. The Daisy and Veil drawings are more innovative and play with the viewers mind. They use our desire to seek order and look for pattern to suggest 3 dimensions, because we expect to see lines, equal spacing and regular shapes we interpret the distortion as a 3 dimensional shape. I find it harder to see how her work denies 3 dimensions unless this is because it is in reality 2 dimensional. maybe this refers to other works such as the Water series?
My first reaction to Michael Borremans work is to feel slightly disturbed. The faces lack emotion and the figures are frozen in a snapshot of a movement. The china is smooth with a liquid surface like cheap figurines from an old fashioned fairground. On closer inspection I am impressed with the way he renders the shape of flowing fabric, a dress, a robe feel very solid. He has played with dimensions in work such as The Case, where the figure is less distinct in the distance, a sort of aerial perspective. Also in Tracy where the background shadows hint at rucked up background paper. In The Louvre - The House of Opportunity the different sizes figures, smaller at the front, larger at the back, upset predicted perspective and create a tension in the picture.
Jim Shaw uses abstract lines swirling over a drawing to create depth in Untitled (Whole Dancer), 2010 and LeeAnn and Jim, 2012. In his Presence Sculpture series you have a 3 dimensional object with a 2 dimensional painting on the flat surface. This is not decorative art for pottery, the drawings and paintings have a narrative, cartoon figures or everyday household equipment and the 3 dimensional shapes are random and designed to display the pictures on them rather than the pictures being there to enhance the shape. This is 3 dimensional work that denies itself. I admire his draughtsmanship but don't understand a lot of the cultural references in his subject matter.
Angela Eames and Jim Shaw relate very closely to this project in that they were exploring new methods of creating drawings. I find it harder to see where Michael Borremans fits in but maybe that is because his work is just more traditional and subtle and less shouty, I guess he shows that you can still use traditional media to create new ideas.
Jim Shaw: http://www.simonleegallery.com/Artists/Jim_Shaw/Selected_Works
The task is to look at the work of the 3 artists above whose work "both creates and denies three dimensions at the same time"
I was interested in Angela Eames aim "not to get lost in the shine" though I'm not sure she has achieved this. The work on her site is from the early days of computer generated art and needs to be viewed with that in mind, it was both a novel format and something that is naturally smooth, regular and shiny. Her on site drawings of the Huf Haus and the Dubai Arts Gallery are less shiny and use conventional devices of perspective and lines to suggest depth. The Daisy and Veil drawings are more innovative and play with the viewers mind. They use our desire to seek order and look for pattern to suggest 3 dimensions, because we expect to see lines, equal spacing and regular shapes we interpret the distortion as a 3 dimensional shape. I find it harder to see how her work denies 3 dimensions unless this is because it is in reality 2 dimensional. maybe this refers to other works such as the Water series?
My first reaction to Michael Borremans work is to feel slightly disturbed. The faces lack emotion and the figures are frozen in a snapshot of a movement. The china is smooth with a liquid surface like cheap figurines from an old fashioned fairground. On closer inspection I am impressed with the way he renders the shape of flowing fabric, a dress, a robe feel very solid. He has played with dimensions in work such as The Case, where the figure is less distinct in the distance, a sort of aerial perspective. Also in Tracy where the background shadows hint at rucked up background paper. In The Louvre - The House of Opportunity the different sizes figures, smaller at the front, larger at the back, upset predicted perspective and create a tension in the picture.
Jim Shaw uses abstract lines swirling over a drawing to create depth in Untitled (Whole Dancer), 2010 and LeeAnn and Jim, 2012. In his Presence Sculpture series you have a 3 dimensional object with a 2 dimensional painting on the flat surface. This is not decorative art for pottery, the drawings and paintings have a narrative, cartoon figures or everyday household equipment and the 3 dimensional shapes are random and designed to display the pictures on them rather than the pictures being there to enhance the shape. This is 3 dimensional work that denies itself. I admire his draughtsmanship but don't understand a lot of the cultural references in his subject matter.
Angela Eames and Jim Shaw relate very closely to this project in that they were exploring new methods of creating drawings. I find it harder to see where Michael Borremans fits in but maybe that is because his work is just more traditional and subtle and less shouty, I guess he shows that you can still use traditional media to create new ideas.
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