KHALAVERA: dobre on., ja mel pocit, ze internetama prolitl jen ten strom.,

PASHWAKA: [ KHALAVERA @ moderní :: postmoderní :: současné umění ] :-P

 
Rosemarie Fiore

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My oil paintings create a space in which man-made and natural landscapes interact. I am interested in fusing specific landscapes with complex conglomerations of urban infrastructure, failing systems and detritus. I begin the process by painting and responding to the landscape on site. I find these landscapes in upstate New York, Vermont and locally in abandoned lots and construcion sites in the Bronx and Brooklyn. In my studio, I construct sculptures and installations out of found materials, cement, caulking, acrylic paint and Gel Medium. These constructions are arranged and lit. I paint portions of them into the plein-air landscapes. The resulting paintings are hybrid landscapes through which we view our relationship to the natural world around us.


"Yard", 2007, oil on linen, 60 in X 43 in


"Meadow", 2007, oil on canvas, 48 in X 60 in

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"Firework Drawings" These large works on paper are made by exploding and containing live fireworks, resulting in bursts of saturated color that are overlaped and collaged into abstract compositions.


"Firework Drawing #15", 2007, lit firework residue, collage on paper, 29 1/2 in x 41 3/4 in


“Firework Drawing #20”, 2007, lit firework residue on paper, cardboard and collage, 38 1/4 in x 50 in

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"Death Scenes" My ceramic landscapes create new endings for the cartoon drama of Wile E. Coyote and the Roadrunner. In the cartoon, the coyote's rudimentary traps backfire. His efforts to catch the bird are always for naught. In my "Death Scenes", the traps succeed forcing the drama to end with the total destruction of the roadrunner.



"Death Scene: While Enjoying a Cliff-top View, the Roadrunner's Throat is Chewed Through", 2003, fired stoneware, 38 in x 16 in x 29 in



"Death Scene: The Roadrunner is Stabbed to Death in a Cactus Patch", 2003, fired stoneware, 20 in x 12 in x 10 in

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I created paintings using my hot rod lawn mower. Fiberglass inserts which fit between the blade and the frame of the machine captured bits of grass, paint and books as I ran over 50 self help books and whoopie cushions filled with house paint. A video camera, which was secured to the side of the mower at ground level, recorded the event. A video was created in conjunction with this project. This work was funded by Virginia Commonwealth University, Richmond, VA.


"Appetite", 2000, artist with hot-rod mower



"Appetite", 2000, hot-rod mower, self help books, house paint

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"Royal Pine Tree" was included in "Yard", an exhibit at Socrates Sculpture Park in Long Island City, NY. It was constructed out of 5,500 Royal Pine car freshners, rebar and a 35 foot telephone pole. It had a very stong odor. This work was funded by Socrates Sculpture Park, Long Island City, NY.



"Royal Pine Tree", 2003, 5,500 Royal Pine car freshners, rebar, telephone poles 28 ft x 7 ft x 7 ft

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"Evel Knievel Pinball Paintings" Entire games of pinball were recorded in oil paint while playing my 1979 Evel Knievel pinball machine. As I played, pinballs covered with oil paint moved across vellum fitted to the machine's playboard creating the paintings. A video, "Balls of Steel" is exhibited with the paintings.


Evel Knievel Pinball Machine, 1979


"Evel Knievel Pinball
Paintings", 2002, Evel Knievel Pinball machine, oil on vellum


"Evel Knievel Pinball
Paintings", 2002, Evel Knievel Pinball machine, oil on vellum. pinball glass size and shape of machine's playboard

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In collaboration with The Lower East Side Print Shop in New York, I completed two variable editions of dry point prints using found graffiti-scratched New York City MTA subway windows as plates. The windows I printed were taken from the Number 33 and 36 cars (The World’s Fair cars, aka Redbird cars). Ink was rubbed into the layered scratches and printed onto light green paper cut to the shape of the windows. The prints were then collaged onto white paper reflecting the location of the windows on the original train. Each print created a unique image that is a visual record of time spent in transit in New York City.

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"Subaru Rear Wiper Paintings" were created using the rear windsheild wiper of a Subaru Legacy wagon. Transmission fluid, engine treatment, motor oil and car wax were squirted out of the rear wiper onto paper cut to the size and shape of the Subaru's rear window. The motion of the rear wiper transformed these car fluids into toxic rainbows.




"Subaru Rear Wiper Painting", 1999, Dirty motor oil on paper, size and shape of Subaru rear windsheild




http://www.rosemariefiore.com

Paul Casaer



rainbow, 2007



detail


http://www.paulcasaer.com

M_ABRAMOVIC: ano!

NOIK: haha, ahoj noik. usmial si ma svojim pozdravom. toto je zoznamka? :-))

Ernesto Caivano




http://www.guildgreyshkul.com/artist.php?id=111

M_ABRAMOVIC: ahoj marino!

KHALAVERA: troska stare, ale ano, ano, lubim tie postavicky hodinkoidne.

Valerie Hegarty



Unearthed 2008




Rothko Sunset 2007




George Washington Shipwrecked 2007


http://www.guildgreyshkul.com/artist.php?id=116

Ryan Johnson








http://www.guildgreyshkul.com/artist.php?id=91

Warren Isensee












http://www.danese.com/Main/Artists/Isensee/ISEN_images.html

MATHEW: no ne ze by to zrovna sakumprask vyresil... ale treba kdyby mu neprasklo to sklo, tak to vubec nikdy neprasklo.. .)

PANAAK: ale prosimte, vzdyt to neni tak jednoduchy.

PANAAK: marcel to vůbec vyřešil sakumprásk všechno

NOIK: marcel to pekne nazval 'sitnicove umeni'.. .)

NOIK: ale jenom ty hezky;)

CHRONOGASTER: přece protože se jim líběj obrázky!

MATHEW: tak je pravda, ze u hodne lidi nevim, proc jsou zrovna na tom oboru.

CHRONOGASTER: však říkal že vyjímky jsou - jako sorry, ale tvoji spolužáci začali otravovat s tím že nerozumí rafanům asi po dvou minutách naší konverzace, přiznej si že jsi vyjímka a zdár