2017 nudie calendar

the nudie calendar is back due to popular demand!

it's a playful take on what has often been a heavy topic. this year's calendar was inspired by Viola Davis talking about sexy as a type:

"what is a type? what does sexy look like? what does sexy feel like? how is it played out?"

(hint: you get to answer those questions)
featured this year are boobs, bums, feet and boy bits. the calendar is particuarly recommended for people that enjoy a perv and a giggle. it's available here

special thanks to my husband, the ancient athenians and ambrogio lorenzetti.

brancusi made a flat thing

Constantin Brancusi
Nude - Study for a Fresco, 1912
Pencil and gouache on paper, laid down by the artist on board

trying to paint and haven't found a surface i like yet. fell into an internet hole researching fresco yesterday. conclusion: lovely process, too long for me.

ridley howard interview

"I will easily spend an hour or more just mixing color. Muddy, lazy color drives me crazy. As a painter, the variables are so few. Color is one of those things that is always in play.
I used to be a more freewheeling, sloppy colorist until I worked for Jeff Koons on his color-mixing table. We would be given a swatch and asked to match it perfectly. You could spend three hours preparing a color that would be used to paint a shadow on a cheek or a Cheerio. They were so strict; it was like basic training. I learned a lot about deliberately mixing oil paint.


"In some ways, you can tell everything about a painter from how they deal with the edges where colors meet. If you think about Raoul de Keyser, Wesley, Morandi, Piero, Manet, or Picasso, you see that the real character of the painting is in the edge. Like in Morandi, there is a kind of trembling line.


"I like that painting is inherently fictional. I have always been interested in the decisions painters make within that space — the kind of experience they create."


read the whole interview here

thinking about looking

a bunch of conversations and reading that's coagulating in my head...

"We are creating an image of ourselves,
we are attempting to resemble this image...

We live in the cities,
cities live in us
time passes.
We move from one city to another,
from one country to another.
We change languages,
we change habits,
we change opinions,
we change clothes,
we change everything.
Everything changes. And fast.
Images above all..."

- wim wenders, notebook on cities and clothes


DH: I suppose essentially I am saying we are not sure what the world looks like. An awful lot of people think we do, but I don't.

MG: So you believe it's a mystery that can still be explored and, what's more, that it always will be?

DH: Yes, it will. A two-dimensional surface can eaily be copied in two dimensions. It's three dimensions that are hard to get onto two. That involves making a lot of decisions. You have to stylize it or something, interpret it. You've got to accept the flat surface. Not try to pretend it's not there. Doesn't that mean that we learn how to get used to pictures and interpret them? And isn't that one reason why we are fascinated by pictures? I certainly am. I've always believed that pictures make us see the world. Without them, I'm not sure what anybody would see. A lot of people think they know what the world looks like because they've seen it on television. But if you are deeply fascinated by what the world really looks like, you are forced to be very interested in any way of making a picture that you come across.

David Hockney talking to Martin Gayford, from A Bigger Message, Conversations with David Hockney (aka The Bible)


on an elementary level, the physical universe does not exist in a deterministic form, but rather as a collection of probabilities, or possible outcomes.
 -wikipedia, philosophy of physics, indeterminism


Perhaps we've been too conditioned by photography to percieve single images as single moments. After all, it does take an eye time to move across scenes in real life.
- Scott McCloud, Understanding Comics


when you draw an apple you put a line down where you see the edge. but walk up to the apple and look - there's no line there.
-David Brian Wilson (he said something like that)


something else i can't remember where i read and am paraphrasing (Proust or someone talking about Proust maybe):
the fragmented and intense nature of human vision, made of pieces and associations and memories. the after image; the few moments after seeing something that you can play it before your eyes (if you were paying attention) before it's gone. the way that artists use that after image: looking at the thing and then down at the paper and back at the thing and then at the paper. i wonder if, with practice, we hold onto it a little longer.


Logicomix: a graphic novel about Bertrand Russell and the history of mathematical logic. people who based their life and their work on the notion that the world is fundamentally knowable and that science can explain everything only to then prove that it is fundamentally unknowable. (they go crazy).


Something my husband said: your head has a bunch of wave receptors like eyes and ears. your ears are sensitive to audio waves and your eyes are sensitive to light waves. 'sensitive to' doesn't mean you can see the whole truth of the thing; it just means sensitive to. it is what it is.
light bounces off something and the something reflects it in a certain way and we say, oh that's blue. but it's not blue it just has a certain way of bouncing light. we might just as well talk about the wave-bounciness of things as their colour. 

artist's statement

My work is about the endless fascination with what the world looks like and how to interpret it in two dimensions. My process is based in drawing. For me, a drawing is a document of time spent rigourously looking. Often it's about drawing things, getting it a bit wrong and the wrongness itself being lovely and interesting. I'm in pursuit of a kind of beautiful wrongness that hits you in the eye and you know what I mean.

what is instagram good for?

this article situates instagram as a continuation of the genre of european oil painting. the point of both is to asert social status. oil paintings were about showing your material possessions and cultural refinement. instagram is about what you've got, how awesome you are, how delicious your lunch was, how well thought of, respected, popular, hot etcetera you are.

john berger talking about european oil painting sounds like he's talking about instagram:

he makes the distinction between what the genre as a whole was about and what specific works within it were about - suggesting that the works that we now remember from the period went beyond showing off. there might be some other, more interesting thing to do with instagram (or with social media in general) than looking good or looking better-than-you. i wonder what that might be?

john berger - ways of seeing # 1

what i got:
the way what's written about images often diminishes the impact of images. a bunch of kids getting an image in a direct way, by actually looking, relating what they see to their own experience. they're able to pick up on the sexual ambiguity of the central figure that most adults wouldn't.

paintings are still and silent.