woensdag, augustus 24, 2016

Roman Opałka #3

Le manoir de Bazérac.

"C'est en effet ici qu'a vécu et travaillé, pendant presque trente ans, Roman Opalka, personnage majeur et atypique de l'art contemporain. Il y créa son oeuvre la plus importante: "1965, de 1 à l'infini". Après avoir quitté Bazérac pour se rapprocher de Paris, il est décédé près de Rome en août 2011. (bron: Fumélois: nature et patrimoine)

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Roman Opałka #2

Opalka's studio in 1972, indicating the camera and lamp positions he uses for photographing himself. (bron: the single road)

(bron: artplafox)

Roman Opałka. (bron: Wikiwand, foto: Lothar Wolleh)

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Roman Opałka

Roman Opalka working on the second to last Détail painting in his studio, Le Bois Mauclair, February 14, 2011. (bron: Hyperallergic, foto: Vincent Lespinasse)

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dinsdag, augustus 23, 2016

zondag, augustus 21, 2016

Edward Dwurnik #2

Edward Dwurnik in zijn atelier, 2016(?). (bron: Ładny Dom, foto's: Michal Mutor)

Atelier van Edward Dwurnik. (bron: czas na Wnętrze, foto's: Konrad Lachowicki)

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Edward Dwurnik

Edward Dwurnik in zijn atelier, 2013. (bron: MAGAZYN KULTURALNY, foto: Michał Ramus)

Edward Dwurnik in zijn atelier. (bron: Wikiwand)

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Sławomir Elsner: Studios

Sławomir Elsner: Studio (Edward Dwurnik), 2015.

Sławomir Elsner: Studio (Paweł Althamer), 2009.

Sławomir Elsner: Studio (Wilhelm Sasnal), 2014.

"Elsner bases his drawings on photographs of studio interiors belon­ging to fellow artists (Althamer, Buj­now­ski, Dwur­nik, Kulik, Kwade, Maciejow­ski, Sasnal). The images depict frag­ments of these spaces, arbitrarily framed, demon­strating more about Elsner than the artist or the space he’s por­traying. His drawings are devoid of people, depic­ting the par­tial interiors, frag­ments of works and numerous objects that add up to build an intimate sort of setup." (bron: Raster Gallery)

> Edward Dwurnik

dinsdag, juli 19, 2016

Christian Boltanski #7

Christian Boltanski, atelier de Malakoff, 1983. (bron en foto's: David Boeno)

Christian Boltanski at work. (bron: Zest Today, foto: Sandro Capati)

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Christian Boltanski #6

French artist Christian Boltanski poses in his atelier on November 9, 2009 in Malakoff, south of Paris. (bron: Getty Images, foto's: Joel Saget)

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Christian Boltanski #5

L'Atelier de Christian Boltanski, 2012. (bron: france inter)

> Christian Boltanski

vrijdag, juli 08, 2016

Richard Deacon #4

Richard Deacon's ash and steel Slippery When Wet 2004 under construction.

Construction of Richard Deacon's Out of Order 2003, oak and stainless steel.

Wood being shaped following steaming in Matthew Perry's studio.

Works under construction inside Matthew Perry's studio.

Shaping wood encased in metal in Matthew Perry's studio.

Deacon's large-scale wooden sculpture Upper Strut 2011 under construction.

Wood encased in metal being shaped.

Matthew Perry, long-term collaborator of British sculptor Richard Deacon, reveals the methods he's devised over their thirty-year relationship to manipulate materials.

'I go down to a place in the country for the wood, and a log is already cut several months before into rough dimensions that I want. I tend to select the pieces outside the studio and I look at them bit by bit for straight grain. At the studio I chop and mill it down. In the case of making twists, which are the heart of the works I Remember, and Strut, after I’ve selected them I bundle them together in groups with gaffer tape and shove them into the steamer. It’s in the steamer for no less than three hours and when it comes out I have five minutes to actually twist it. I can’t do more than four per day because they require at least two hours to dry to the point at which I can take them out of the steamer.

I use a twisting donkey which can take various heads. The maximum I can get is something like a 435° twist on any object; and that is the point to which everything starts breaking, including the machine. Wood tends to fracture when it’s allowed to expand, so the whole principle of steaming is that you compress - it’s very easy for a piece of wood to be compressed, especially once it’s steamed, but if you allow it to stretch, then it will just crack.

The reality of this work is that it’s always eccentric and it’s very hand-made, it’s not a process of mass production. Necessity is always what rules everything. You have very complex shapes that have to be joined, and they are routed together so that they are both strong, but elegant, rather than there being a kind of obtuseness about it. I don’t use computers to calculate things, I tend to just use my capacity to visualise things, and I still work like that. Every piece that I make, I try and leave something that’s lost, or is answered by the form or the structure, and that works for both me and Richard.

Authorship is difficult. But in a way, my life is about the practice rather than the processes. Richard has an idea; he wants to put things together in a certain way, and I go away and make a vocabulary for him to work with. That’s always how it’s always been.'" (bron: Tate, foto's: Martin Sherman en Christopher Perry)

Richard Deacon: Slippery When Wet, 2004.

Richard Deacon: Out of Order, 2003.

Richard Deacon: Upper Strut, 2011.