Artist of the week: Jun Chen.

Jun Chen was born in China in 1960 and migrated to Australia in 1990. He trained in painting at the Guangzhou Academy of Fine Arts and later the Queensland University of Technology, Brisbane. In China, Chen was a brush and ink painter; in Australia he reinvented himself as an oil painter using paint thickly applied with a pallete knife to capture landscapes, nudes and still lifes. The artist is a regular finalist in the Archibald, Wynne and Sulman Prizes and his work can be found in the collection of Parliament House, Canberra, and in private collections in Australia and Asia.

 

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Bondi Park, 2012, oil on canvas, 101 x 106 cm.

 

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City in Haze, 2012, oil on canvas, 101 x 106 cm.

 

Images and text: http://www.rayhughesgallery.com/contemporary-australian/jun-chen

New works, new series.

I have recently embarked upon a new series of small abstract/semi-representational compositions in oil paint. Using different palette knives I am creating works that are responding to the world around me; places, people, landscapes, objects, the seasons etc. These works are meant to go alongside my most recent works on paper. Working in acrylic, ink, oil pastel and charcoal on paper differs from working with oil paint only so much. My work is about the gesture, the energy and movement. It’s about recounting a particular experience; embedding my thoughts, feelings and emotions into the work with expressive, but controlled movements of the palette knife, brushes, charcoal, oil sticks etc. These latest works are my way of pushing my current work into different paths, seeking out the potential of different results. The images below are only progress shots, as the works may change; some more dramatically than others. I will aim to make another post about these particular works once I have more completed works. I should also mention the format I am working in and the reasoning behind it. The format is square, 31 x 31cm. One of the main reasons behind working in this format is because I found some ready made frames that would suit this size of canvas. Also the square format forces me to approach painting in a different way, everything has to be considered, every mark and every gesture must be thought through, not to say that I don’t do this with other works in different formats, it’s just that the square format is forgiving in some way and ruthless in others. Well enough jibber jabber from me, I hope that you enjoy the images below.

 

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Framing ‘Dead Hardly’

Using some ready made frames to frame up some old works in time for the Raw Artists Wollongong showcase, July 1st 2013. A great way to enhance any work visually as well as adding value to the work.

Artist of the week: Horishi Sugimoto

Hiroshi Sugimoto was born and raised in Tokyo, Japan. In 1970, Sugimoto studied politics and sociology at Rikkyō University in Tokyo. In 1974, he retrained as an artist and received his BFA in Fine Arts at the Art Center College of Design, Los Angeles, California. Afterwards, Sugimoto settled in New York City. 

Sugimoto has spoken of his work as an expression of ‘time exposed’, or photographs serving as a time capsule for a series of events in time. His work also focuses on transience of life, and the conflict between life and death.

Sugimoto is also deeply influenced by the writings and works of Marcel Duchamp, as well as the Dadaist and Surrealist movements as a whole. He has also expressed a great deal of interest in late 20th century modern architecture.

His use of an 8×10 large-format camera and extremely long exposures have garnered Sugimoto a reputation as a photographer of the highest technical ability. He is equally acclaimed for the conceptual and philosophical aspects of his work. Begun in 1978, Sugimoto’s Theatres series involved photographing old American movie palaces and drive-ins with a folding 4×5 camera and tripod, opening his camera shutter and exposing the film for the duration of the entire feature-length movie, the film projector providing the sole lighting.[4] The luminescent screen in the centre of the composition, the architectural details and the seats of the theatre are the only subjects that register owing to the long exposure of each photograph, while the unique lighting gives the works a surreal look, as a part of Sugimoto’s attempt to revealtime in photography.

 

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Cinerama Dome, Hollywood, 1993, Quad-tone Lithograph, archivally framed (edition of 100), 34.5 x 27.5 inch image
44 x 34 inches framed.