Before research

There are so many individuals in the world, each of whom has his or her own various identities.

No one can define anyone else, and I think even myself is living without realizing all the identities that are in my subconscious.

 

The realm of unconsciousness is always an interesting field for me.

From the point of view of unconsciousness, there are two interesting things that I'm aware of right now.

First, everything I see, hear and feel in my life can be superficially expressed indirectly in my actions, even if I don't recognize it.

Second, I can think about something that is in my unconscious mind, or I can recognize it through other people's experiences such as reading, appreciation of works, conversation, etc.

I think it's a way to extend my thinking wider. Something that is unconscious can be my emotion or my taste.

 

Whatever work i’m going to do on any topic in the future, I have no choice but to interpret it based on this kind of thinking, and I think that's my work.

 

 

a misunderstanding of the depth of unconsciousness

 

We humans have many layers of consciousness. In psychoanalysis, in general, the whole human consciousness is divided into 'consciousness', 'conscience' and 'unconscious'. Consciousness refers to consciousness in the state of awakening, and the preconscious mind is directly below the consciousness, which is not usually recognized but can be easily brought up.

The contents of the ceremony often appear on the surface of the ceremony when you are immersed in daydreaming or daydreaming. In comparison, unconsciousness, as is well known, has been understood to form the basis of consciousness as a part that is not recognized by consciousness.

Freud (Sigmund Freud, 1856-1939) cited hypnosis when claiming the existence of unconsciousness. As is well known, he cured mental illness through hypnosis in the early stages.

Later, however, he discards hypnosis and instead develops a free association, leaving behind great exploits in discovering unconsciousness.

During his research, Freud makes meaningful remarks about hypnosis and unconsciousness. "Anyone who has ever witnessed hypnosis can't doubt the existence of subconsciousness (or unconsciousness)," said Ko Je-won, [the theory of hypnosis and actuality, p.39].

 

Is the analogy of an iceberg appropriate?

The purpose of this painting is fully understandable. Usually we think that only the usual rational awakening consciousness exists, and it is the content of this painting that our whole consciousness occupies a much greater part, far from being rational. It is a metaphor for icebergs floating on the water to represent it.

On the surface, it is easy to think that the floating parts of the ocean are the bulk of the whole. But the truth is that the area is submerged eight to nine times below the surface.

As such, our unconscious seems to have only a conscious mind, but underneath it there are many times as many unconsciousness as the base of an iceberg.

However, there are serious flaws in the painting. If the painting is taken as it is, the size of the unconscious will be only eight to nine times larger than the conscious mind. The misunderstanding of unconsciousness begins here. Because the realm of unconsciousness is not so restrictive.

When Freud discovered unconsciousness, that might have been enough. For him, unconsciousness was the home of a repressed sexual desire, usually filled with sexual energy, Libido.

Freud, of course, has a ball that introduces a new realm of unconsciousness that has been hidden from mankind. In other words, it must have done a great deal because it paved the way for the study of human consciousness.

Freud, however, did not seem to have known how far his discovery of unconsciousness extends. And there was a lot of negativity that he announced.

It must have been because it was all filled with sexual desire and oppression (afterwards Freud also realized the grandeur of unconsciousness, so he should not forget to insist that unconsciousness remains a mystery to man).

 

Jung's collective unconsciousness

This idea of unconsciousness was changed by scholars who succeeded Freud's theory after his death. It would be an appropriate expression to say that it has become deeper and wider than it has been changed.

A case in point is Carl Jung (1875-1961), who is well-known for claiming collective unconsciousness of mankind beyond personal unconsciousness, so no further explanation will be needed.

In this collective unconscious there are countless symbols that mankind has shared since the beginning of history. These symbols help humans with psychological healing or maturation, and enable them to achieve self-realization. In short, collective unconsciousness is a repository of human wisdom in general.

With the help of a genius named Freud, mankind began to dive into the deep sea, the end of human unconsciousness. What mankind first encountered then was dark and negative, such as sexual desire, sin, oppression, and death.

But once exposed to unconsciousness, the human race went deeper without fear. As a result, I found that unconsciousness is a wonderfully brilliant creature of wisdom. So how could we know that deep unconsciousness is a wise being?

It was none other than through dreams. A dream can be said to be an imaginative painting that can be freely drawn using numerous symbols in the unconscious sea. Not only are symbols, but places that have never been before appear, and strange beings that have never met before appear.

Because of that, modern people generally thought that dreams were just idle fantasies. Occasionally, they did not attach any special meaning to them, even if they were to receive a sign through their dreams or meet a dead person.

However, through careful and insightful research by post-protein scholars such as Erich Fromm (1900-1980), Jung realized that dreams were not just a means of meeting wishes, as Freud claimed.

As is well known, Freud argued, the reason why humans dream is to meet the needs that were suppressed during the day.

His interpretation of dreams has many symbols of human genitalia. For example, sticking forward like a pistol symbolizes a man's penis, while having a hole like a well symbolizes a woman's penis.

 

Dreams as a Warehouse of Human Wisdom

But when he comes to Jung, his dreams turn into a storehouse of wisdom in the whole human race. Let's take an example of why Jung became interested in mandala. 

The mandala is simply a picture of the place of enlightenment in the deepest part of a man's heart. That is why the mandala consists of a circle and a rectangle that can be called a complete shape.

Jung had the mental patients he was treating painted images of dreams, which, surprisingly, resembled the Buddhist mandala. Jung interpreted patients as trying to overcome internal dissonance through the healing image or symbolism of mankind.

In addition, dreams not only try to strike a balance when we have a problem, but they also constantly predict the future. So we can achieve internal growth by analyzing or interpreting dreams alone.

But we are not doing this right. The reason is that we have forgotten the language of dreams. The book written against this backdrop is Erich Fromm's [The Forgotten Language].

According to the prom, we have a huge report of human wisdom - dreams - that we forget to use language to interpret them for our own development.

Dreams often have numerous symbols and metaphors that cannot be interpreted without professional training to read them.

 

the unconscious and the ultimate consciousness of religion

What's surprising here is how dreams (to be precise, unconscious) know in advance what will happen. It is also mysterious how it foretells the distant future, which lasts more than a year.

What I feel every time I dream about this is that I'm not the source of the dream. In my usual awakening, my reason is not able to exercise this foresight at all, and vice versa, often making wrong judgments.

But the foresight that the dream showed was far beyond my ability, and I felt strongly that it came from any source of wisdom other than me.

Personally, I could agree with deep-seated psychologists that dreams are an important channel through which to convey the wisdom of the unconscious through metaphor or indirect symbolism.

That's why Milton Erikson, who was a master of hypnosis in the 20th century, said, "All of us, in our unconscious, have far more ability and resources than we know, and unfortunately we don't live a happy and satisfying life because we don't know this."

Ericsson went on to argue that such unconsciousness is in favor of consciousness, working independently and at the same time being highly creative. That's why, as we saw earlier, unconsciousness is much wiser than consciousness."

These arguments are not only found in deep psychology. Even more profound ideas are found in religion (and mysticism).

The prophets, who believe in higher religions, especially mysticism, uniformly argued that there is the purest consciousness at the bottom of our consciousness.

The rituals were called different according to religious traditions, most representative of which are "space rituals," "true self," "Godhead" and "One Mind."

To help readers understand, we cite Ken Wilbur's explanation (1949~). Wilbur calls this pure ritual, which is the basis of everything, a "Form," and describes it this way.

Such 'shape' is an actual prototype, a term meaning 'primary pattern' or 'primary mold'. There is true light where all the sublime lights are no more than its shadowy shadow, there is a bliss where all the sublime hallucinations are no more than its anemia, and there is the ultimate "conscientiousness" where all the subconsciousness is only its reflection, and the more sub-sound is nothing more than its echo. These are the real archetypes.
- Wilbur (1996), [A Brief History of Everything], Shambhala, p. 217
Our consciousness is so deep and deep. The "true light" or "surge" and "fundamental sound" that Wilbur says here all come from our ultimate consciousness.

This ultimate consciousness is so deep that ordinary people cannot fathom the boundaries. That is why we cannot help but question the picture of the iceberg that we saw earlier.

In this painting, our unconsciousness was only eight to nine times greater than that of consciousness. But if you listen to the stories of many scholars and mysteries that we have introduced so far, you can see that there are countless layers of subconsciousness, and that information is stored so deep and so wide that you can't see the limits.

Moreover, the deeper you enter the unconscious mind, the weaker your personality is, the more you can see that in the picture you saw earlier, even the unconscious remains in the dogmatic realm. That's limited to a fairly small area, too.

Therefore, this picture should be modified. If it were to be modified, how would it be drawn?

 

 

ref. Choi Joon-sik, professor at the Graduate School of International Studies at Ewha Womans University

(https://m.terms.naver.com/entry.nhn?docId=3578526&cid=59066&categoryId=59078 ) 

 

 

 

-ma degree collection

 

Brand Bianca Saunders

The brand Bianca Saunders is a clothing brand created by exploring the time she grew and formed herself and the cultural heritage she received. Her collection contains a challenge to excess masculinity and a look at living as a West Indies Englishman in London today. Based on this concept, we combined simple Tayloring with rich and loose crease decoration and shirring. Her goal is to present a new kind of beauty, and to subtly squeeze what is considered feminine into a masculine silhouette in the opposite direction.
​

'I think we haven't found all the ways yet for men's clothing to get away from work clothes and Tayloring,' she added.
​

 Background

Bianca Saunders is a menswear designer born and based in London. She graduated with a Master of Arts degree from The Royal College of Art in 2017. Her menswear label is an exploration of surrounding identities and draws heavily on Bianca's background growing up in London with West-Indian heritage.

• West-Indian heritage

A West Indian is a native or inhabitant of the West Indies (the Antilles and the Lucayan Archipelago). For more than 100 years the words West Indian specifically described natives of the West Indies, but by 1661 Europeans had begun to use it also to describe the descendants of European colonists who stayed in the West Indies.[1] Some West Indian people reserve this term for citizens or natives of the British West Indies.

The British West Indies, sometimes abbreviated to the BWI, is a collective term for the British territories historically established in the Anglo-Caribbean: Anguilla, the Cayman Islands, Turks and Caicos Islands, Montserrat, the British Virgin Islands, The Bahamas, Barbados, Antigua and Barbuda, Dominica, Saint Kitts and Nevis, Grenada, Saint Lucia, Saint Vincent and the Grenadines, Jamaica (formerly Colony of Jamaica), and Trinidad and Tobago.[1] Some definitions also include Bermuda, the former British Guiana (now Guyana) and the former British Honduras (now Belize) although those territories are not usually considered part of the geographical West Indies. Before the decolonization period in the later 1950s and 1960s the term was used to include all British colonies in the region as part of the British Empire.[2][3][4] Following the independence of most of the territories from the United Kingdom, the term Commonwealth Caribbean is now used.

 

+Black Golden Jamaican History

 An island country on the West Indies in the northern Caribbean.

A center of slave trade from the West Indies to the abolition of slavery.

The first British colony in the Caribbean as a member of the British Commonwealth in 1962. 

Black and Mulatto, descendants of African slaves who worked on sugar cane, cocoa and coffee farms, were the majority of the residents occupied country

 

 

 

The great illusion of Columbus inspired the discovery of America's New World.

 

After the dark ages of the Middle Ages, the age of the sea against Bayahro began.

Columbus got support for his expedition to the New World from the Queen of Espanyah.

Columbus thought.

"Espanya and India are close, and they can be reached in a few days with just the right wind."

He was full of the idea of sailing to India and spreading good spices, gold and Catholicism.

In addition, Columbus, who read Marco Polo's book, The Dongbangsimmunrok, an Italian merchant and explorer in the 13th century, even thought of meeting Kublai Khan, the emperor of the Mongol Empire.

The furthest lands for Europeans of the day were now the Chinese Kadai, India, and Japanese cane.

For Europeans, it was a place full of exotic goods, such as silk and spices, and a place full of gold and treasures that became the object of admiration.

The essential flavorings for the European meat-eating table were then traded with Arabian merchants via the Silk Road.

The Silk Road was so long and difficult that Eastern goods were traded at exorbitant prices.

This condition led many to find a sea route across the sea like a shotgun, instead of a camel. Columbus was one of them.

Finally, the young man Columbus rode.

Friday, August 3, 1492. 8:00 p.m. At the mouth of the river at Saltes, we set sail across the sandbar.

Towards the eastern side of India, that unknown continent overflowing with gold and spices.

He crossed the Atlantic in search of the shortest route to America (which he believed to be the East like India until the day he died) and gave the next generation of Europeans their own "new world" America continent, which was completely unknown.

The first destination was the Caribbean island nation (the West Indies).

This will further expand and expand the continent.

 

 

Columbus's discovery of the New World was a disaster for the Americas (the Caribbean islands). 

 

Columbus could not get the gold he and the Europeans wanted so much in the New World.

Instead of gold, they enslaved the natives and used brutal slaughter and looting. 

The biggest change since the discovery of the New World was the rapid decline of the indigenous (Indian) population.

The decline in population is partly due to the brutal killing and looting of Europeans,

Above all, it was because of various infectious diseases that came through Westerners.

 

"For the Arabs of Palestine, just as the Israeli founding became a catastrophe, for the Native Americans, the arrival of Columbus and the Europeans was a disaster,"

 

Diseases carried from Europe, including smallpox, killed more than 90 percent of the indigenous population in the 100 years since the discovery of the New World. Venezuelan President Hugo Chavez's turn of October 12, designated as "Columbus Day," into "Native Resistance Day," is a native reinterpretation of Columbus' discovery.

"Columbus and the foreign conquerors who followed him committed more brutal killings than Hitler," he said.

There is no reason to celebrate the day that led to the worst massacre in history," he said, urging Latin Americans not to celebrate Columbus Day because Columbus was the one who carried out the biggest massacre in human history.   (Donga Ilbo, 2008)

 

Triangular trade that has fattened Europe and the migration of African black slaves to the New World.

 

 However, for Europeans, the New World was like an unripe row.  

They replaced gold by growing coffee, tobacco, and sugar cane in the new colonial world.

At first, the natives of the New World were enslaved on the farm. In the course of the Europeans taking care of their ships,

The natives are slaughtered, infected with diseases brought in by outsiders, killed by hard and hard labor.

He lost his life and died, and he died powerless in their land. Sadly, I 

 

Europe, carrying guns, gunpowder, alcohol, cotton, etc., came to the west coast of Africa, exchanged them for black slaves, and then moved to the Americas.

He has accumulated a great fortune through the so-called triangular trade, in which he crosses and sells slaves and returns to Europe with the money of the colony-made sugar, coffee, tobacco and cotton. It said it was able to make a profit of up to 500 percent.

 The European tobacco craze has led to an increasing number of tobacco farms in the colonies.

Along with cigarettes, it was sugar that the people of Europe went crazy Growing sugarcane, the raw material of sugar, and making sugar were hard work that required a lot of labor. At first, we forced the natives of the New World to work.

The plague that the Europeans had spread caused a huge shortage of labor.

As a solution to the problem, Europeans caught black people in Africa and used them for forced labor.

African black slaves were referred to as black gold 

Thus, people in Europe began hunting black people off the southwest coast of Africa.

Following Espanyah and Portugal, Britain, the Netherlands and France have entered the slave trade in earnest.

 

Black Golden (African Negro) Move to Jamaica from the Senegalese Whale Island

 

The place with the best conditions as the starting point for the slave ship was Senegalese whale island in southwestern Africa, a fortress of Chen Hye. For more than 300 years, therefore, the island has been used as a forward base for African slave trade

This place became notorious for its slave trade port with Ghana's "Gold Coast" and Nigeria's "Gagos."

Some of the Jamaican ancestors may have quite a few black slaves sold right here on the whale island of Senegal.

On the island of Whale, the "house of slaves" that used to hold captive black slaves remains.

The criteria for choosing adult male slaves were muscles in the body and" more than 60 kilograms in body weight."

Female slaves examined the quality of their products by assessing their breasts and the condition of their teeth.

Those who passed the quality standards of the goods were auctioned off in the front yard, while those who were weak or sick were thrown off shore. At that time, there were many cannibal sharks in the sea. (Naver, Dong-A Ilbo, 1993)

 

Pope John Paul II, French President Mitterrand and his wife Nelson Mandela and Louis Armstrong visited the area. It is said that it is always crowded with countless tourists from all over the world.  What do they see and feel when they visit there?

 

Jamaica, the third largest island in the Caribbean West Indies discovered by Columbus.

The Arawak Indians, who were indigenous to the island when England occupied Jamaica in 1665, had already been extinct.

So the labor needed on the farm was replaced by black slaves in Africa.

Naturally, Jamaica served as the center of slave trade in the West Indies.    

,,,

Around 1784,

An African-American slave girl with a pretty face and a well-developed heart came to land on Jamaica Island after she boarded a slave ship on the island of the Senegalese Wh She couldn't know what good luck would come for her future, but she breathed a sigh of relief only to be alive.

In fact, a man from Ireland named William Ford arrived in Jamaica to run a coffee plantation.

The man found quite a useful female slave in the slave market. The man bought a slave and became a concubine.

The son John was born between the two. John was Mulatto, a mixed race born in intermarriage between white and black.  Malcolm Gladwell, author of The Outlier book, is his descendant.

 

Malcolm Gladwell details his ancestry (Moulato, born in combination between a white man and a black woman) in the latter part of the book.

"At the time, the Caribbean was no more than or less than a huge colony of black slaves, and black people were overwhelming white by a ratio of 10 to 1. In fact, there were very few white women who could marry in Jamaica, so many white people took a black or mixed-race woman as their wives. The white man saw Mulatto, born in interspecies relationships, as a potential ally.

The Mullato women could be the hostess of the family, and the children born between them had a brighter complexion, just because of that reason, they could climb one more spot on the socio-economic ladder than other black people. (Outlier/Malcolm Gladwell)" 

 

"The biracial children are freed when they are traded four times, and most of them are adopted and educated in England when they are three or four years old."

 

"The unselected slaves lived simply short and unhappy lives. Farm owners thought it would be much more reasonable to extract as much human resources as possible from slaves when they were young, then throw them away when they were dead or useless and buy new ones again.

Therefore, for black people, it was very important to be chosen by white people or to seek a rise in status through their marriage.

So it's not surprising that Jamaican colored people are obsessed with bright skin.

They observed other people's skin carefully and began to tease those who had darker colors than themselves with their skin colors, as white people do.

Children with good skin color are expected to raise the family's color hierarchy, and marriage has been recognized as an important step in advancing the family's skin color.(Outlier)"

 

BIANACA SAUNDERS' collection 

Autumn-Winter 2018 collection, titled Personal Politics was presented at Pitti Uomo and focused on black male identities and challenging stereotypes of hyper masculinity.

-Hypermasculinity is a psychological term for the exaggeration of male stereotypical behavior, such as an emphasis on physical strength, aggression, and sexuality .

Her Spring-Summer 2019 collection, titled Gestures, was showcased at London Fashion Week Men's, as part of the covetable NEWGEN: One To Watch sponsorship scheme. The offering focused on body language and mannerisms, as observed in research films made by the designer.

-body language

-mannerisms

Mannerism, also known as Late Renaissance,[1] is a style in European art that emerged in the later years of the Italian High Renaissance around 1520, spreading by about 1530 and lasting until about the end of the 16th century in Italy, when the Baroque style largely replaced it. Northern Mannerism continued into the early 17th century.[2]

Bianca Saunders latest Autumn-Winter 2019 collection, titled Unravelling, was presented in January 2019, at London Fashion Week Men's. It continued to explore black male identity, this time focusing on self-expression in the expanse of the most intimate setting, the subject's bedroom.

-my drawing to understand her design

For SS 2020, her research again consisted primarily of conversations with friends. it was the carefree approach of her friend Eldon Somers, who was one of the main subjects in her 2019 film Unravelling. During the day he’s suited, but then he changed into his going out frock and a whole new person comes out – the duality and fluidity between conservative tailoring and skimpy, sexy clothes worked so well together. Ruched shirting and super high-slit trousers – these clothes were risqué in a way not many menswear collections are.

Invitation artwork came courtesy of Troy Richie, whose collages of vintage gay porn literally deconstruct the themes of race, masculinity and fetishisation. Bianca’s looks were similarly spliced and diced; 40-denier tights peeked from underneath split-leg suit trousers, adding a playful twist to a collection which continued her exploration of what masculinity looks like today.

 

Each of the collection uses familiar fabrics, usually found in modern wardrobe - from nylon and leather to cotton shirting, jersey and denim. Saunders masterfully applies garment manipulation including creasing and shirring to reflect wearer's identity struggles and being comfortable in your own clothes. The state of partial undress, seen as a styling choice, explores male sex appeal and subtly introduces feminine aspects to the menswear offering. 

 

bibliography

(photographers, visual artists)

 

-Deana Lawson

Deana Lawson (1979) is an American artist, educator and photographer, based in Brooklyn, New York.[1] Her work revolves primarily around issues of intimacy, family, spirituality, sexuality, and Black aesthetics.

Lawson has been praised for her ability to communicate the nuances of African American experiences in relation to issues of social, political, and economic factors. She has work held in the International Center for Photography collections. Her photographs have been exhibited in a number of museums and galleries including the Museum of Modern Art,[2] Whitney Museum of American Art,[3] and the Art Institute of Chicago.

 

-Gordon Parks 

Gordon Roger Alexander Buchanan Parks (November 30, 1912 – March 7, 2006) was an American photographer, musician, writer and film director, who became prominent in U.S. documentary photojournalism in the 1940s through 1970s—particularly in issues of civil rights, poverty and African-Americans—and in glamour photography.^[2]

As the first famous pioneer among black filmmakers, he was the first African American to produce and direct major motion pictures—developing films relating the experience of slaves and struggling black Americans, and creating the "blaxploitation" genre. He is best remembered for his iconic photos of poor Americans during the 1940s (taken for a federal government project), for his photographic essays for Life magazine, and as the director of the 1971 film Shaft. Parks also was an author, poet and composer.^[3][4][5][6]

 

^{-Matin Parr} 

 

Martin Parr (born 23 May 1952) is a British documentary photographer,[3] photojournalist and photobook collector. He is known for his photographic projects that take an intimate, satirical and anthropological[4] look at aspects of modern life, in particular documenting the social classes of England, and more broadly the wealth of the Western world.

 

-Lynette yiadom-boakye 

 

Lynette Yiadom-Boakye (born 1977)^[1] is a British painter and writer. She is best known for her portraits of fictitious subjects painted in muted colors. Her work has contributed to the renaissance in painting the black figure.

Yiadom-Boakye's work consists mostly of painted portraits of fictional black subjects. Her paintings are predominantly figurative with raw and muted colours. The characteristic dark palette of her work is known for creating a feeling of stillness that contributes to the timeless nature of her subjects. Her portraits of fictional individuals feature people reading, lounging and resting in traditional poses. Commentators have attributed some of the acclaim of Yiadom-Boakye’s work to its relatability. Much of the warm details that she brings to the depiction of her subjects’ (such as contemplative facial expressions and relaxed gesturing of their bodies) making their posture and mood relatable to many viewers. The artist strives to keep her subjects from being associated with a particular decade or time. This results in choices like not painting shoes on her subjects as footwear often serves as a time stamp.[4] These figures usually rest in front of ambiguous backgrounds, floating inside monochromatic dark hues. These cryptic but emotional backdrops remind commentators of old masters like Velasquez and Degas.[5]

Lynette Yiadom-Boakye's style shifted slightly after the opening of her 2017 show "In Lieu of a Louder Love". The show featured a new, warmer color scheme. Her subjects in this show included more vibrant details such as a checkered, linoleum-floor, a bold headwrap and bathing suit and a yellow, orange and green background.[5]

Though each portrait generally only contains one person, they are typically presented in groups arranged like family portraits.[6] With her expressive representations of the human figure, the artist examines the formal mechanisms of the medium of painting and reveals political and psychological dimensions in her works, which focus on fictional characters who exist beyond our world in a different time and in an unknown location.[7] She paints figures that are intentionally removed from time and place, and has stated, “People ask me, ‘Who are they, where are they?’ What they should be asking is ‘What are they?’ ”[8]

 

-Seydou Keïta

 Seydou Keïta (1921 — 21 November 2001) was a Malian photographer. He is mostly known for his portraits of people and families he took between 1940 and the early 1960s and that are widely acknowledged not only as a record of Malian society but also as pieces of art.

*mali , West Africa

 

-R. H. Quaytman

R. H. Quaytman (born 1961) is an American contemporary artist, best known for paintings on wood panels, using abstract and photographic elements in site-specific "Chapters", now numbering thirty-four. Each chapter is guided by architectural, historical and social characteristics of the original site. Since 2008, her work has been collected by a number of modern art museums.^[1] She is also an educator and author based in New York City.

ABOUT THE WORK

“When I make paintings, I think of them firstly as images that can be placed next to other images,” explains R. H. Quaytman. This approach relates to her practice as a whole, as well–she works in successive “chapters,” where each new series relates to the preceding series. In this print, she represents her modus operandi by depicting stacked recursive canvases and titling the work “Proclitic," an adjective used to describe words that are so closely connected in pronunciation that they are pronounced together, such as, “t’was.”

-modus operandi 

-stacked recursive canvases 

 

ABOUT R.H. QUAYTMAN

Through her meticulous and systematic practice, Quaytman challenges historically determined assumptions about the relationship between viewer and painting, and questions painting’s autonomy as a means of visual communication by foregrounding, within her work, the context of its reception. Quaytman’s paintings, at once pictorially abstract and conceptually resonant, reference a range of sources, including her own family history, phenomenology, social relationships, and the conventions of modernist painting. Always working on wood panels with predetermined proportions, Quaytman employs a muted palette and a range of formal techniques such as screenprinting, trompe l’oeil, and even the application of diamond dust to the work’s surface to create deceptively straightforward and visually evocative compositions. Quaytman has also displayed her paintings on storage racks placed within the exhibition space, pointing to the eventual passage into obscurity of most aesthetic objects as they make space for others.

Since 2001, she has organized her paintings into “chapters,” each of which is conceptualized around a particular exhibition and evolves from a specific formal concept. For the 2008–09 grouping Chapter 12: iamb, for example, she took as her starting point the motif of a painting lit by a lamp, which has the potential to both illuminate and create blind spots through its reflection. The decision to imitate the structure of a book in her work reflects Quaytman’s belief that images and their meanings are inherently contingent. The meaning of each painting is dependent not only on the person standing before it but also on the image next to it. Likewise, each chapter is informed by those that came before. In 2011, Quaytman made this approach literal with the publication of the artist’s book Spine, a catalogue raisonné of sorts in which she revisited the twenty chapters that make up her preceding decade’s output. In Quaytman’s works, meaning is fluid, traditional categories are perpetually destabilized, and perspective is subject to multiple shifts. Her paintings establish their own visual lexicon without jettisoning existing systems of signification.

*foregrounding: the unusual use of noun literary language to make it stand out It is a term used by Prague scholars in linguistics and poetry that allows new feelings or perceptions to occur by breaking the cliche.

 

*pro·clit·ic  ex) d’you ->d

*modernist painting

*inherently contingent: A way of expressing oneself to attract the viewer into art activities by producing accidental and entertaining acts between the creators and the audience of art, music, and theater.

 

-paolo roversi

 Born in Ravenna in 1947, Paolo Roversi's interest in photography was kindled as a teenager during a family vacation in Spain in 1964. Back home, he set up a darkroom in a convenient cellar with another keen amateur, the local postman Battista Minguzzi, and began developing and printing his own black & white work. The encounter with a local professional photographer Nevio Natali was very important: in Nevio's studio, Roversi spent many hours realising an important apprenticeship as well as a strong durable friendship.

 

-the-talks interview

Q.The girls in your nudes always look so relaxed and comfortable in front of the camera. How do you reach that state?

Most of the time it’s just me and them. Sometimes my assistant is there to charge the camera or something, but I’ve done so many shoots and every shoot has a different feel. My photography is more subtraction than addition. I always try to take off things. We all have a sort of mask of expression. You say goodbye, you smile, you are scared. I try to take all these masks away and little by little subtract until you have something pure left. A kind of abandon, a kind of absence. It looks like an absence, but in fact when there is this emptiness I think the interior beauty comes out. This is my technique. Or at least it’s what I think my technique is!

Q.Your nudes are obviously focused on the body, but you are most famous for your fashion photography. How difficult is it to take a picture if the clothes the model is wearing don't appeal to you?

Sometimes it’s almost impossible! (Laughs) The clothes are a big part of a fashion picture. It’s a big part of the subject. Even if, for me, every fashion picture is like a portrait – I see and treat every image as a portrait, of a woman or a man or a boy – but the clothes are always there and they can make the interpretation of the image much more difficult.

Q.Do you take a lot of pictures when you’re not in your studio?

I’m not the kind of photographer who always has a camera around his neck, always taking pictures of everything, with the fear of losing the moment. My life is full of pictures I didn’t take, or that I just took with my mind because I wasn’t fast enough with the camera. Maybe one day I’ll write a book about the pictures I didn’t take. (Laughs)

Q.What is a photographer’s role in fashion these days?

Well I think it’s shifted because now there are many more photographers. And the use of photography has changed, too. Before the images were in magazines and books and now they are on the internet and on the screens. So the use of the image has changed completely. Everything is going much faster and everyone can be a photographer. You can buy a camera and take a picture and everyone around the world can see your picture. You have a large audience immediately. That changed a lot. Don’t you think so?

Q.Definitely. The digital age is changing most of the ways we consume media.

Look at what you have in your hands (iPad); that changes everything.

 

(chromatics)

 

-a workshop for artists and designer

 

 

-iten - art of color

 

 

 

-colour in art-john gage 

 

(technique)

 

-mark making fresh inspiration for quilt and fiber artists

 

 

 

 

-500 art quilts 

 

 

 

 -collage,stitch, print collagraphy for textile artists

 

 

 (designer)

-issey miyake

 

-humanoid