#shandis

Joejo – Shandis

Joejo – Shandis Mp3 Download

Dance floors will never be the same this Easter and for the rest of the year going forward as prominent music producer Joejo drops his five track EP filled with bangers. (more…)

        Peter Doig. Doig, Peter, 1959-Rizzoli, 2011.

Drift, Richard Shift

301 “A painting should drift. Its features are transient, subject to readjustment. Begin one way, one another way. A painting needs to go its way, with its incidental wualities developing toward significance. To maintain aspects of finding within a process of making, painters allow accidents of thinking and handling to affect the conceptual and technical orders that guide their practice. A fruitful balance between purpose and discovery – enabling artists to find more than they believe they seek – requires some play in the system, a tolerance, an acceptance of drift.”

303 “Doig applied his various techniques directly, decisively; doing so, he was risking material impurity, at least in terms of the look that resulted… He mixed dark colours to be dry and matte and very opaque (like mixing raw umber, Prussian blue, viridian, and a red)’: he also produced the darks by painting over brighter colours ‘with streaky oily (linseed mixed in) dark bluey browns or blue blacks.’ He would begin with brilliant, chromatic pigments, only to end in a compound that might appear drained of its colour and light.”

[his technique results] in obscurity

304 “Doig’s manipulation of paint… undermines the conventions order of pictorial space by ambiguating it, reconfiguring it helter-skelter. Often he starts from a thoroughly logical composition, a photographic fact, only to disregard its natural order.”

“A mood of lost-in-space, lost-in-painting unifies the diversity of Doig’s images.”

305 “Typically, Doig opens a perceptual gap between what ought to be the object of human interest and what may well become more intriguing to the eye. He fills gaps in representational figuration with abstract materiality – streaking, spotting, visually abrasive textures – a combination of qualities that generates an atmospheric mood without referring to anything specific in the natural world.”

306 “We might conclude that painters are dreamers… unable or disinclined to commit to a specific logic of stable conditions…. The result is a dream but also reality because eye and mind, when left to their own devices, generate moving images rather than a fixed perspective.”

309 “Doig’s paintings are dreamily suggestive, capable of evoking a arrange of experience so broad that what is familiar, accommodating, and comforting… can simultaneously appear strange, withholding, and threatening.”

313 “Perhaps all resemblance is resemblance only in part… Resemblances are imperfect.”

317 “Events occur; situations arise; things happen. The implications are neutral… until someone defines the elements of a situation, assigning one thing as the cause or effect of another.”

318 “Doig’s image as a  whole exists in semiotic limbo, a dream coming on… A thought does not remain in a place. It expands and contracts and expands; it drifts. The aspects and implications of a thought change as the thought is being thought. To experience the vision particular to the activity of painting is to learn something about the mutable nature of thinking. The rationality of thinking, its capacity for closure, is overrated.”

323 “Doig’s paintings create memories from mazes of disorienting detail. They show something familiar that nevertheless looks unsettlingly weird, or something that looks familiar.”

328 “He comments indicate that he depicts commonplace situations while perceiving the tensions, ironies, ad emotional edginess in there ordinary views. He leads his banalities toward a sensory and psychological precipice… because people feel comfortable there. Doig risks the approach without the benefits of arrival, exploring incidental moments of life certain to lack resolution.”

335 “ ’Getting lost,’ ‘losing yourself,’ ‘going beyond yourself’ – here are all colloquial expressions to which Doig resorts as he offers an experiential, not a theoretical, account of his art. ‘Painting is about working your way across the surface, getting lost in it… ‘Looking in a different way, and losing oneself in the looking.’ ”

The book is directly referencing the painting of a house in the woods I chose from his work

346 “Doig’s art leaves too fee generalized elements in its wake to have a ‘style.’ Nor does it have a comprehensive, clarifying narrative. … Each of his accounts and associations reveals how astute an observer of human habit and idiosyncrasy he is, but his verbalizations hardly match the suggestive power of his imagery.”

347 “Doig’s art may be ‘not at all real’ or all too real, depending on where we locate it.”

360 “Doig has always supplemented his memory with imagery taken from photographic sources”

The idea of reinterpreting the role of the painter, and the harsh style that accentuates her messages, is the influence I am taking from Emin.