Click to enlargeKathrina was born in Mexico City and studied visual arts and photography at the University of Nuevo Leon, Mexico. Her native country means that her work is infused with a rich vitality and a colourful exuberance. As an Urban artist, she produces work which is perhaps softer and more lyrical than her male contemporaries. She has a deep admiration for iconic female figures, especially her compatriot Frida Kahlo.
Over the last couple of years Kathrina has lived and worked in Dublin, Ireland and has become a vital fixture of the vibrant street art scene there.
Kathrina uses an array of mediums to achieve an extraordinary effect – From spray paints, newspaper collage and urban markers to assemblage of cardboard, door parts and even Popsicle sticks. She is constantly challenging the means of urban representation, reinventing the genre in a feminist context.
Her work is deeply tied to her Mexican roots, addressing social issues such as racial discrimination and embracing a culture without the curse of violence and gangs.
She is the voice of a new generation, producing artwork that is bold and seductive. Like Frida before her, she is conscious of the innate power of her gender. She excites the male gaze with her portraits being alive with a raw sexual energy. They are alluring and even provocative.
Kathrina’s technical ability and artistic representational skill are first rate, creating both an awareness of environmental issues and tapping into the Mexican concept of the cycle of life, seen in the celebration of ‘Dia de los Muertos’.
The physicality of life in Kathrina’s work is seen in her numerous performances and live events, which is a crucial aspect of her practice. She wants the work to be alive, she wants the audience to see the process in action and feel the creative energy as it happens.
Stop-motion (also known as stop-action or frame-by-frame) is an animation technique to make a physically manipulated object appear to move on its own. The object is moved in small increments between individually photographed frames, creating the illusion of movement when the series of frames is played as a continuous sequence. Clay figures are often used in stop-motion for their ease of repositioning. Stop-motion animation using clay is described as clay animation or clay-mation.
A few of the best ART-PIE have seen are below.
Hours and hours of work here for these two first examples. Top quality.
Warning: these two films contain some adult language in the subtitles, but if you can stand the occasional and brief “F” word, the pay off is huge.
Sarah Hervey has a note in her sketchbook, it reads, “Wittgenstein maintained every statement rested on unproven assumptions and illogical associations”.
With regard to language there are four problems outlined by Bertrand Russell in his 1922 introduction to Wittgenstein’s Tractatus Logico-Philosophicus:[1]
First is a problem of what actually occurs in our minds when we intend to mean something.
Second is the relationship between thoughts, words and sentences and what they refer to.
Third is a problem of constructing sentences to convey truth rather than falsehood – in a logical sense rather than in a factual sense of true and false.
Fourth, what relation must a fact have to another in order to be capable of being a symbol for it.
According to Russell’s essay, the fourth problem is what concerned Wittgenstein and it is at the heart of Sarah’s note to herself, which is positioned in relation to this image in her journal:
Images of Assumptions, (c) Sarah Hervey, sketchbook collage
“In the language of everyday life it very often happens that the same word signifies in two different ways – and therefore belongs to two different symbols – or that two words, which signify in different ways, are apparently applied in the same way in a proposition [a statement]…[t]hus there easily arise the most fundamental confusions.”[2]
Ludwig Wittgenstein
The problem of clear communication is further complicated by psychology, the first of Russell’s four problems with language, and identity, the second. What does it mean to be vulnerable? We all know what it feels like and so we feel we can describe and understand it. But can we? David Minton a fellow exhibiting This ‘Me’ of Mine artist, asks Sarah if she thinks his male vulnerability is an attribute of feminine vulnerability, wondering “if the view of ‘masculine’ is dependent on the view of vulnerable as ‘feminine’?” It’s a compelling question.
Jane Boyer: Much of the vulnerability you are interested in and you explore is based in gender issues and ageing. Can you tell us what it is particularly about vulnerability, experienced through gender and age, which interests you?
Sarah Hervey: I think there has been a lot of research into why women live longer on the whole and have a resilience somehow, yet the way we are supposed to attract men is to be vulnerable, the weaker sex, so there’s all that dynamic which is interesting. Because I have this idea about skin and how your history shows on your face, so if you’ve had a life where you’ve felt vulnerable it will begin to show. As your body gets older you just appear more vulnerable because your skin gets thinner, your bones aren’t as strong, you find it more difficult to hold your head up straight and keep your back straight and so your body starts to cow. The different way men and women deal with that interests me; how we feel about that is the internal part of skin, then the way society looks at you is the external part. I mean, the essence of being female or male is different and I feel it is important to struggle to understand more precisely the positions of men and women within these boundaries. My point of view is as a woman. I can’t understand my own vulnerability and the vulnerability of women without understanding the vulnerability of men.
Read more of our interview, Without Any Voice. If you are enjoying reading about the issues involved with This ‘Me’ of Mine, follow the blog by clicking the ‘follow’ button under the heading Follow blog via Email at the bottom of each page and engage with us by leaving a comment, follow us on twitter @thismeofmine or like our facebook page, facebook/ThisMeofMine.
We always look with interest artists that use mediums one might not even think it can be used in any art process. This is exactly what Olga Ziemska is. Sculptor and public artist who lives & works in Cleveland, Ohio, she would use willow branches, wires, Conch shell, locally reclaimed birch logs or plaster hand casts
Modern Panic is our forth-coming exhibition, showcasing the work of provocative artists from around the world, from infamous prisoner Charles Bronson, Bolivian enfant terrible and coca-leaf artist Gaston Ugalde, taxidermy artist Iris Schieferstein, who’s hoof boots have been sought after by the likes of Lady Gaga, the provocative Kira O’Reilly, Tank Girl comic artist Rufus Dayglo and over 50 others!
Modern Panic is a well needed look into the worlds we inhabit and is designed to shake the viewer awake through a bewildering bombardment of the senses.
Modern Panic is a sequel to the popular Panic Exhibition we held in 2009, which featured the founding members of the Panic Movement (formed in the 1960’s by Fernando Arrabal, Alejandro Jodorowsky and Roland Topor), next to the new wave of controversial modern artists.
During our Private View on Fri 3rd June, we will be presenting a Panic Happening: Many artists will be spontaneously creating their art live in a 3 hour ‘Panic’ inspired happening, consisting of performance art, site specific characters, live sonic sounds, and plenty of interactive installations. ‘The Aftermath’ of this panic happening will then take the form of the exhibition.
Panic Movement (Mouvement Panique) was a collective formed by Fernando Arrabal, Alejandro Jodorowsky and Roland Topor in Paris, France in 1962. Inspired by and named after the god Pan, and influenced by Luis Buñuel and Antonin Artaud’s Theatre of Cruelty, the group concentrated on chaotic happenings containing performance art and surreal imagery, designed to be shocking, as a response to surrealism becoming petite bourgeoisie and to release destructive energies in search of peace and beauty.
“Lacan revises and enriches the myth of Narcissus, so passionately in love with his image that he plunges into the water and is drowned.”[1]
Maurice Merleau-Ponty
Bathroom, (c)2011 Hayley Harrison
The mirror holds peril. Revealing truths unwanted or enticing the loss of the self to an objectified world. The creation of our self-identity begins with how we respond to our image in the mirror in infancy. We either recognize the ‘other’ and begin the process of socialization or we retreat to find the maternal object and become locked in the death wish.[2] Psychoanalytical theory is of course more complex and involved than that simple description. But the significance in the simplified description is the relationship of self to object. We begin to understand we are an object which occupies space, distinct from others or we seek the comfort and reassurance of objects to satisfy our longing, beginning to see everything as an object available to satisfy us.
In Kleinian theory, the ‘internal object’ is “a mental and emotional image of an external object that has been taken inside the self. The character of the internal object is coloured by aspects of the self that have been projected into it. A complex interaction continues throughout life between the world of internalised figures and objects and in the real world…the state of the internal object is considered to be of prime importance to the development and mental health of the individual.”[3]
Her, (c)2011 Hayley Harrison
We are bound to objects as a means to understand the world, ourselves and the complex relationships we have throughout life. Any kind of exploration of self and identity must perforce include a discussion of objects. This ‘Me’ of Mine has delved into several aspects of this ‘object relationship’, through the work of Kate Murdoch and memory association with personal identity development, Annabel Dover and the complex personal codes and emotions imposed on objects, Cathy Lomax and objects which represent self-image and emotional states and now with the work of Hayley Harrison and her use of objects as an expression of an inner self:
“I think we have to be in the ‘right’ place both internally and externally and that’s when a conversation occurs. For me self-recognition through the external is experienced in its ‘purest’ form when we are here, now, rather than through our pasts or futures. We can be taken off guard by something, something perhaps poetic that throws us into the present. Whatever that something is, we just have to come into relationship with it. When we experience one of these rare conversations between the internal and external I believe we come back to ourselves, much like Jacques Lacan’s famous discourse with the sardine can. Ultimately within these moments we are looking into a mirror.”
The beginning of the year is always a great opportunity to start a fresh page and discover what’s new. In this spirit, we would like to invite you to join us for our upcoming group exhibition AFTER SHOW PARTY.
AFTER SHOW is a transition from our Winter Exhibition, kicking off our new exhibition season in 2016.
The FIAC art fair has opened its doors to the public until the 27/10 and while loads is happening, a stroll around the Parisians parks i a must as a bung of artist have dropped some outdoors installation. This event is called Hors-Les-Murs
Make sure to head down to the Tuileries Gardens, Jardin des Plantes, National History Museum, and Place Vendôme, the Petit Palais, and the banks of the Seine River, situated on the left bank between the Pont de Solférino and the Pont des Invalides and you shoud get your dose of art
Highlights include an installation by Tadashi Kawamata on the iconic Vendôme Column in Place Vendôme, working in collaboration with the Comité Vendôme and its members, in particular a number of major jewelers that are based in the mythic square. The piece is entitled “Tree Huts at Place Vendôme, 2013.”
We strolled through the London Art Fair for the fourth consecutive year and as always stumbled upon remarkable artworks from ever so talented artists.
In this series, we will tell you why we liked a particular piece from these artists as well as posting more works. We hope you will also enjoy it as we did.
Feel free to comment too at the end of this article. Let’s get started….
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Paul Wright
Click to enlarge
We stumbled upon the piece called “Wild Fire” – oil on linen, 43” x 39′, and once again admired the technique and palette of colours used. We always look forward to pass the Thompson’s booth art the London Art fair to find out about Paul Wright’s works.
We know how hard it portraiture is in general which makes us appreciate even more this artist’s work. His portraits are always impeccably proportioned and transpire always strong emotions boosted by the often vibrant choice of colours.
About the artist
After his beginnings as an artist working in Illustration, Paul Wright has spent the last decade developing a language of painting through which he seeks to capture a vitality beyond the establishment of a mere ‘likeness’ to the subject. As an artist, Paul Wright appreciates the importance of the individual being recognisable, the subjects are glimpsed in the painting rather than exposed, their inner selves hinted at but ultimately inscrutable.
Though Paul Wright often works on a large, potentially imposing scale, his paintings remain approachable through fluency of brush mark and a rich palette. In Paul Wright`s paintings, the spaces the subjects inhabit are often indeterminate, providing an atmosphere that allows for ambiguity of psychological state. Paul Wright`s subjects retain their integrity and yet through the artist`s painting method a sense of intimacy is evoked.
