I consider myself as a full-time student of the human condition. I'm very interested in other's people's lives, their anxieties, sufferings, relationships, doubts, past life, family... This way, I try to understand more about life and its meaning. However, the more I get to know, the more I feel ignorant. It's an endless cycle.
I keep a personal diary but instead of writing on it everyday, I rather focus on days I'm actually inspired. This is me being strictly true to my nature rather than professiona... [more]
I am very proud of my 2007 oil painting "Mackerel", in which I managed to capture both beautiful and sinister elements of a daily object, fulfilling a most tantalizing pursuit of mine. With its intense colors and bold strokes, this painting economically presents a sleekly fish, intently staring upwards, as if ready to confront its captor; at the meanwhile, its eye also betrayed the fish's sad resignation to its imminent demise. The background of the painting was plain drop cloth, hatched lightl... [more]
Yet another criminally underappreciated pioneering female artist receives an overdue solo exhibition decades into her career. A decade and a half of works by Barbara T. Smith, a major figure in the West Coast performance art movement from the late 1960s onward, are currently on show at Andrew Kreps. This show demands and repays attention in equal measure. The focus is specifically on resin works by Smith, notably a glade of tree-sized resin grass. The phrase "blade of grass" has never seemed s... [more]
Scale suits some artists as much as it defeats others. This sense of risk is pervasively present in Subodh Gupta's frequently enthralling exhibition at Hauser and Wirth's 18th Street space. Spaces as huge as Hauser and Wirth's can often bring out the worst in artists, a profession not uncongenial to those with a streak of grandiosity. Happily, Gupta understands the nature of scale and spectacle better than most artists of his stature, and, in works like the sculpture, "This is Not a Fountain", th... [more]
Four years on from the disaster at the Fukushima Daiichi reactor in Japan, radioactive water is still pouring into the sea. In spite of this, life goes on, politicians eat potentially radioactive strawberries for the cameras and something called "art" attempts to process a world as resistant to comprehensibility as the one we call, more or less, home. Into this strange reactor pool comes the show The Radiants bringing together work by Ei Arakawa, Jutta Koether, Sigmar Poke, UNITED BROTHERS and ma... [more]
Painting is perpetually in crisis; rarely does the urgency of the crisis feel as palpable as in Tamar Halpern's show at On Stellar Rays. In an increasingly digital visual eco-system, painters are not forgiven easily if they don't reckon with the changes. Halpern's works-- paintings, in a sense; prints in a sense; even sculptures if looked at in another way--are determined not to be overwritten by the coders.
The works, generally a combination of UltraChrome ink on linen and paper with some o... [more]
What is worse, to have a language but nothing to say, or to have a great many things to share but no vocabulary to communicate?
There seems to be a constant struggle between form and content, but what about the form of the content and the content of the form?
Does every idea need justification in the form of a realized work? What if artists just stood on rooftops and screamed their ideas out instead of mellowing them down with materials and physical tangibility?
Sometimes it is better... [more]