Project ToolsProject Info
Fields:  Painting
 
 
Search and destroy
These projects are meant to be erased and crushed. They are work in progress, and as they will live quite shortly, I wanted to expose their fragility.
 
Small Collision

Small Collision

 
 
The organic screening
Surfaces to illustration and soon illustration to the last painting

 
Organic Screening, July 24th

Organic Screening, July 24th

 
Organic Screening, July 27th

The Rio Bravo buddies

Organic Screening, July 27th
The Rio Bravo buddies

 
Three figures

Three figures

 
Lock

Lock

 
Brown light

Brown light

 
23 lights

23 lights

 
Project Tools
  • Digg
  • Stumbleupon
  • Reddit
  • Del.io.cious
  • Mister Wong
Other Projects From
 

Comments

In order to post a comment you must Log In.
Maria Mello
Maria Mello, 07-27-09
Organic and lock are promissing
Katia Lempka
Katia Lempka, 07-27-09
Super, continue !
Natalia Stahl
Natalia Stahl, 07-26-09
mood of the big industrial city with a smog , cars , durty streets and so on.....
Maria Mello
Maria Mello, 07-26-09
Your first one is brutal. I love it. I can see and dream looking at it. It has so much in it. It is very urban and therefore I think it moves fast like cities do. I look at the first one and I see it moving constantly. the 2 other ones are still and at peace.
michael ifland
michael ifland, 07-26-09
i would like to see these finished, but for now i like the top one the best, and not just because it is the most representational at this point, but because it is the most expressive and therefore genuine to me.
Samuel Bischoff
Samuel Bischoff, 07-26-09
Dear Niek, Thank you for your commentary, At first your reaction shows me that my little explanation above isn’t clear at all. The sentences look very naïve : These projects are meant to be erased and crushed. They are work in progress, and as they will live quite shortly, I wanted to expose their fragility. In fact, what is important in it is the « work in progress ». I don’t mean that the paintings will be destroyed by natural causes. They are just in a transitory step, sketches. So, they are waiting to be transformed, and then receive new layers of paint. About the second question : the way I destroy or transform the painting is, I admit, very conventionnal. And I even thought that I would name the first painting « Tribute to Willem de Kooning ». I saw a few Works of Sergej Jensen and I really enjoyed it. It corresponds for me to a certain kind of post-modern art, apparently liberated from all the movement that end in « ism » of the XX century. I guess that my starting point is not obvious. I’m a movie buff, and in the last five years I took more time watching films than attending painting exhibitions. I can imagine that it’s not easy to see. I use photogramms as ideas to develop a painting. For instance, my other serial “Breathe in Black” is almost completely based on films noirs, such as Out of the past (Jacques Tourneur), A girl in every Port, The big sleep (Howard Hawks). http://www.behance.net/Gallery/Out-of-the-past/129178 Working with this material can be considered as very classic. One of my influences is Francis Bacon, who is now a very established painter in the people’s mind. As you certainly know, his starting points were photographs coming from magazines (a picture from the film Potemkine by Eisenstein), more than natural inspirations. Besides, you said that Jensen doesn’t try to picture anything. I love the idea that the image itself may determine the composition. I plan to work with this in mind. But, I still work with the need of keeping a figure, something recognizable. There is this fantastic book from the philosopher Gilles Deleuze : Francis Bacon, Logique de la sensation. Deleuze explains that Bacon’s paintings are always in between, not totally abstract, not totally realistic and he calls it “figural” in french. You are right when you say that I should turn away from the “formalistic abstract expressionism”, it is a prison, an instinctive and lovely prison, but still, a jail. I believe, I should work on my subjects and the processes that follow. One more time, thank you for your helpful comment. Sam
Christian Marra
Christian Marra, 07-26-09
Niek Lekkerkerk seems to be very "on topic" and interested, so , my comment is read with attention his words!good work! ;-) I hope i will receive a comment like that on my stuff!
Mauricio Herrero
I like the first one best!
Natalya Evseeva
Natalya Evseeva, 07-25-09
The first is best, second - interesting!
Niek Lekkerkerk
Niek Lekkerkerk, 07-25-09
Dear Samuel, You cite that "the projects are meant to be erased and crushed", from what perspective / position should this erasing and crushing take place? By you, the artist, the beholder or by the autonomous works (for example natural influences)? Second question, what is the use / content of the destruction process? As a curator and art historian I have to say that there as not so much original or actual about the work, was this your intention? See for example the show of Sergej Jensen at the KW institute for contemporary art. "Sergej Jensen uses linen, jute, colorful fabrics, used textiles, stretchers and frames as supports for his works. Yet, rather than being mere base matter, these materials inform the paintings’ content. Stains, holes, cracks and other traces of use become pictorial elements. Pigment, diamond dust, packthread, wool, bleach and other conditions are Jensen’s pictorial means. Longsome treatments—often over the course of several years—let the paintings emerge as if by themselves. It is being added and removed, concealed and disclosed. Visible traces become pictorial gestures, and pictorial gestures are made to seem like traces. Front sides reverse into back sides; bottoms flip into tops; right turns left. The image itself seems to determine the composition. Sergej Jensen’s painting is not mimetic as it does not attempt to picture anything. Rather, Sergej Jensen’s painting only represents itself. Sergej Jensen’s (born 1973) solo exhibition at KW Institute for Contemporary Art will feature new works created in the last two years." www.kw-berlin.de Destruction processes, sometimes only meant to be formalistic, have been used overtime, by for example Tinguely, Joseph Beuys or the Wiener Aktionisten, but they mostly worked from a certain theoretical horizon. What did you use as a starting point? To make this works more actual I think you should turn away from this formalistic abstract expressionist style and work with more contemporary media and concepts. Good luck! Yours, Niek Lekkerkerk
1  2  
 
 
 
Advertisement
 
Advertisement
 
Advertisement
 
Follow Behance on Twitter
 
 
We Want Feedback