Despite my having been very interested in poetry for a lot of my life, I’ve resisted the urge to incorporate text into my art because I sometimes feel it’s cheap way to force and narrow the meaning of a visual work. Lately though, I’ve been inspired by some artists working with text such as Natalya Lobanova, whose work is an intersection between poetry, comics, and diary art.
This pocket chainsaw (non motorised, obviously) weighs only five ounces, but can cut through a three-inch-thick tree limb in less than 10 seconds. I will need one of these for the zombie apocalypse.
Picasso’s portraits of his wives and lovers changed as his feelings towards them changed, with his paintings becoming grotesque as his relationships tanked. Brendan Danielsson seems to have a permanently dysfunctional relationship with all of humanity judging by his horrific, monstrously bulbous and mutated portraits of people.
The depth, lighting, and detail of Melanie Authier’s paintings create an illusion of representation where there is none, and the viewer is compelled to assemble something out of the abstraction like one might find a face in the clouds.
At the beginning of last year, I was doing a lot of relatively large-scale, drippy paintings. I did one based on a photograph I took of a slaughtered donkey in China that looks remarkably like one of Chrissy Angliker’s paintings. I had never heard of Angliker before, and it’s funny how two perfect strangers working in complete isolation can come produce such similar work. I’d like to believe that our work has nuances that differentiate us, but that’s for the viewers to decide. My piece is at the bottom of this post.
If you dug deep and mixed it up a bit, you might see Lost At E Minor as just a ‘toilsome rant’, churning out ‘radiant scum’ (music and art) on a daily basis. Contributors such as Gerry Mak (nothing but a ‘grey mark’) and ‘teeny hunk’, Kenneth Yu, are fuelling ‘the eminent rattling’ (light entertainment), […]