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Jesus... Who knew a blog could carry the same sentiment as a long lost friend? It has been too long.

The occupation of library idling, power point presenting and Christmas show prepping has filled up my term fast. I feel three months of uni has been six. There is a culture at the Cass - some arrogance, some ignorance with confrontation and modesty all in between - I like it.

Found my feet now just need some fucking shoes

Richard Wright. A word for the egomaniacs.

'"There's already too much stuff in the world. And it buys you a kind of freedom. Not having [paintings] come back and haunt you is a kind of liberation. Why has the Sistine Chapel survived? Because we need it. Somethings are necessary. But not as many things as we think."
www.guardian.co.uk/artanddesign/2009/dec/08/richard-wright

Well, I'm all cracks. If only Damien Hirst felt the same way.

To be posted:

The unremarkable, contextually confused creations I would dump in Landy's Art bin if there was any monetary value to my name.

Treasure Pleasure

This year I will have that vain ‘bohemian’ tag of being an Art student. It’s sad that I will no longer be able to say that I am self taught. I’m saying bye to that little pleasure. So this is my wallowing tribute to a time when I did what I wanted with only my own un-skewered purpose.

Artist. Clunie Reid.

Clunie – I have never come across such a name but she’s simply all wicked. See her and other up and comings at the Saatchi Gallery, NEWSPEAK: British Art Now until 17th October 2010. It’s free, certainly worth a trip to the pompous abyss that is Sloane Square.

Illegitimate foreword
There are some shockers there and I don’t mean by an eruption of my inner core but in an especially cynical ‘that is God awful’ kind of way. I’m not even referring to the Sloane gulf locals.


Clunie Reid, Take No Photographs, Leave Only Ripples, 2009

'Priest of Love (1981)'

Photographer 20th Century

Diane Arbus
Artist Rooms Tour exhibiting at Nottingham Contemporary until 3rd Oct 2010 http://www.nottinghamcontemporary.org/art/diane-arbus


No fancy camera angles, just sober enigmatic subjects. Arbus portrays her subjects without fuss, hunting for the marginalised in the 60’s and 70’s. Her style is very humble so we depart unbeguiled by Arbus but we are left spellbound by her clever voyaging.
My slow treads did nothing to help my feeling of self invisibility; I think this feeling was shared. My favourites: The Puerto Rican woman amongst too many. Incredible.

Diane Arbus,‘A family on their lawn one Sunday in Westchester, N.Y.C,’ 1968, Puerto Rican woman with a beauty mark, N.Y.C. 1965 © The Estate of Diane Arbus

A crossbreed and a mongrel

Muti, Untiltled, 2003, Mixed media on mylar

Lynette Yiadon Boaktye, Politics, 2005, Oil on canvas

“Collage creates conceptual depth.”

Wangechi Muti's Untitled: A perverted Goddess/adolescent flaunt. Collages are fragile because they’re conceptually breakable. Some are physically breakable; I wonder what part that plays? One angle is to give a sense of vulnerability and mortality. They are too easily destructed and for me imposes too strong a sense of futility.
The vulgarity within Politics is decadently alluring. I cannot think of a more menacing oil portrait. With figurative oils they’re resilient. Again, I have this thing with longevity.

Not permanent but immoveable

Contemporary Art Installation to me is like a mental block. It doesn’t have any longevity, but once it’s there – it’s immoveable. I am referring to the physical confusion.

The East London guidance is to be ‘cutting edge’. Momentary aversion - what if they’re wrong and this era will be depicted as the very worse in Art history. Could the rubbish bin be binned?

Absurd or enigmatic. I am not on the fence, I am in a sand pit with confusion filled up to my eyeballs. In addition I feel like I’ve been on a mental block for four months and no one has made more sense than Francis Bacon.

This is one to definitely be continued.

Michael Landy's Art bin - High end installation

A million and one beautiful messages

Arrived in the post today - along with a cute message from a stranger. Emin's 'Walking with Tears' exhibition is on at the Royal Academy (her prints are dispersed around their cafe - making highly awkward viewing for us mere observers). The prints are on sale ranging from £200-£500, which is a low enough sum for temptation to seep in... good thing my book arrived today. Bad thing... it will probably be amazing and I will cling on to it by buying something my bank would advise me against. What do they know about investment?

First Impressions

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No sultry lingerie snaps here (well maybe later). Just the products of a photo happy lady.
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Plush new camera

Maxed out SD memory cards
Scraps, paintings and sketches under my bed
Wardrobe full of my favourite things
New lease at Kennington with 3 girlfriends
New Art course
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Probably best I actually get this blog going.