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Post by bram on Sept 29, 2011 11:45:35 GMT -8
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Post by svenman on Sept 29, 2011 13:29:08 GMT -8
i really enjoyed the concept of his room 101 show. ... 101 paintings in 101 days etc. don't feel these are as strong though myself without that concept behind them. |
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Post by Weezy on Sept 29, 2011 19:59:44 GMT -8
This is the guy who did that bird series?
I agree with Sven, particularly since these don't pull off the great sense of movement that was in the earlier bird pieces I'd seen and quite liked for that reason. Those pieces almost twitched with movement, which is hard to do.
Of the paintings you linked to, I liked The Search for Morisot best, because it seemed to have the most sense of movement, although in all the pieces there seems to be a lot of repetitive elements that make them "one note". I quite like the ambitious effort at abstraction and movement, but these don't quite get me there. And the muted palette in these is, for me at least, kind of more depressing than serene.
Weezy
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Post by zippy on Sept 30, 2011 1:53:50 GMT -8
Hey weezy,
you might be mixing him up with Xenz? Xenz paints the Birds whilst Dale is more Abstract.
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Post by origo on Sept 30, 2011 1:55:00 GMT -8
Never understood the hype around this guy, tons of works like these around and frankly I find it difficult to differ one work from another.
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Post by droow2 on Sept 30, 2011 5:52:11 GMT -8
Never understood the hype around this guy, tons of works like these around and frankly I find it difficult to differ one work from another. Agreed, I think they were more a product of dreaded banksyforum hype than anything else. |
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Post by bram on Sept 30, 2011 6:39:36 GMT -8
Never understood the hype around this guy, tons of works like these around and frankly I find it difficult to differ one work from another. Agreed, I think they were more a product of dreaded banksyforum hype than anything else. I can appreciate why that is a common view about his work. A lot of abstract stuff leaves me cold and there has been a love / hate debate of Dales paintings in the past (as there has with Parla.). However the reason I have followed his exposure over the last couple of years is the strange connection I get to his pieces. Abstract is the hardest field to get recognition in these days, lets face it, we can all grab a bucket of paint and throw it over a canvas then declare ourselves the next Rothko but somehow Dale has emerged when many have failed and believe that is down to the paintings being real. I don't feel that same falseness that I get from other abstract. I believe his marks and movement come from a genuine place and I trust he will be a real pleasure to watch over the coming years. |
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Post by Weezy on Sept 30, 2011 10:55:36 GMT -8
Hey weezy, you might be mixing him up with Xenz? Xenz paints the Birds whilst Dale is more Abstract. I think maybe I was thinking about Frank Gonzales. Sorry. In any case, there is a similar attempt at movement here, using the random fleck brushstrokes, but it's still not as effective as Frank. Sounds like this guy has a lot of buzz? Hmm... Brobt, what do you mean by the work being "real" as opposed to other abstracts? Is it for you the evidence of thought behind the choices made in pulling together the abstract elements of the piece vs. others' less thoughtful choices, pushing paint around on canvas with a pleasing aethstic result one of serendipity rather than calculus? I like abstracts that pique the imagination through the palette and rendering of paint to canvas in a way that refernces some memories or emotions that's real, but maybe often incongruous which makes the piece far more exiting than, e.g., photorealism which doesn't leave anywhere near as much to the individual's imagination. As example, I have a Kristen Schiele abstract that conjures an exotic outerworldliness with elements mimicing shoji screens, Arabesque patterns and palettes, water, electricity, outerspace, a jungle atomsphere and a possible form of a figure broken down into cubist elements where the predominate black seems almost shroud or burka-like, creating a sense of mystery about the who and why. You couldn't make all those elements work trying to depict them as something real. But the overall effect of the abstraction, the choices behind the individual elements and what it triggers in my brain, that is real. Moreover, as my brain focuses on different elements over time, it may processess them differently, allowing my impressions of the piece to continue to evolve. On this basis, I'm really evolving my taste and collection more toward pure abstract work or compilation abstraction like Micallef. Another good example of an intermediate abstract artist is Wackers, who this forum introduced to me and I think is just great. Weezy |
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Post by bram on Sept 30, 2011 17:09:29 GMT -8
That is intriguing weezy.
In real I meant rooted in something rather than the random. Having said that, for me abstract is all about a sixth sense hence why it is difficult to view via pixelated screens and print.
I have a theory that as a generation that processes images at break neck speeds, abstract is changing in concept. It is my belief that there is will be a greater demand to view art first hand and abstract will have a renascence because of that. The power of it comes from the presence and in a world where art is viewed more and more on 15 inch back lit screens, abstract painting will always look stale against other genres.
Brobt
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Post by Weezy on Sept 30, 2011 18:52:59 GMT -8
Brobt, I think I understand what you mean. I agree that many of the subtleties of some abstract work, particularly those pieces that rely on tricks of the eye created through the overall effect of the paint or brushstrokes, can fail to register as a digital image, and being so critical to "get" the effect of the work, that failure is a failure of the piece because there's nothing to back it up. That wouldn't be true of a piece that was not abstract. I've never seen Marshall's work live. Is it the case that you believe the ho-hum views might be based on the failure of this work in particular to resonate as a digital image in that way?
I don't think I'd say the failure to register digitally is true of all or maybe even most abstract art. Some of it resonates even as as a digital image and then often is even more incredible live. I'd also say that non-abstract art many times leaves me cold as a digital image or causes me to under-appreciate it, relative to my experience with the pieces live. I recently commented on a great Frizzell acquired by Origo that I'd seen it live and it was much more impressive than the digital, which made the piece look really good anyway.
Your point about the increasing relevance of digital sources of images is an interesting one to think about, therefore, not just in terms of abstract vs non-abstract work.
Insomniac, what caused you to move away from abstract art? I ask as a relative collecting newbie who's just admitted to a proclivity toward greater abstraction... Hoping to learn a lesson from the more seasoned members on this forum.
BTW, nice Avatar. I've gotta look for something that moves myself...
Weezy
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