Artist Talk Magazine - issue 10

artisttalkmagazine

Milne Publishing is proud to present Artist Talk Magazine issue 10.

Once again, I am pleased to showcase more incredible artists from around the globe.

All of the artists featured within this issue have given interesting, in-depth and honest accounts about themselves, their work, views and ideas. In addition to the amazing
images of the work they produce, which I know you the reader will enjoy and be inspired by.

We have lots of incredible talent within this issue, with a wide range of subject matter for you to explore and enjoy.

This issue’s cover is The Painted Hall at The Old Royal Naval College. After a two year
conservation project, The Painted Hall reopened March 2019.

Issue 10 is dedicated to the memory and work of Anne Karin Selvik Kristensen, who sadly passed away recently. Anne’s family and Artist Talk have chosen to print this issue in her memory.

Thanks for reading.

ARTIST TALK

MAGAZINE

October 2019

www.artisttalkmagazine.com


DISCOVER MORE

Instagram: @elizabethlanafinearts


FEATURED ARTISTS

ELKE JUNGBLUTH

4-9

THE PAINTED HALL

THE OLD ROYAL NAVAL COLLEGE

10-17

THOR RAFNSSON

18-23

NÉ BARROS

24-29

THE TIMES SQUARE EDITION

30-35

MILNE

FRANCIS AKPATA

36-41

Milne Publishing is proud to

present Artist Talk Magazine

issue 10.

Once again, I am pleased to

showcase more incredible artists

from around the globe.

All of the artists featured within

this issue have given interesting, indepth

and honest accounts about

themselves, their work, views and

ideas. In addition to the amazing

images of the work they produce,

which I know you the reader

will enjoy and be inspired by.

We have lots of incredible talent

within this issue, with a wide

range of subject matter for you to

explore and enjoy.

This issue’s cover is The Painted

Hall at The Old Royal Naval

College. After a two year

conservation project, The Painted

Hall reopened March 2019.

Issue 10 is dedicated to the

memory and work of Anne Karin

Selvik Kristensen, who sadly passed

away recently. Anne’s family and

Artist Talk have chosen to print this

issue in her memory.

Thanks for reading.

Grant Milne,

Founder of Artist Talk Magazine

artisttalkmagazine

ArtistTalkMag

artisttalkmagazine

LUCIAN FREUD

42-47

JESSICA M. HANCOCK

48-53

MAURICIO VEGA

54-59

MATTHEW TAYLOR

60-65

ANNE KARIN SELVIK

KRISTENSEN

66-71

DISCOVER MORE

www.artisttalkmagazine.com

3


ELKE JUNGBLUTH


Elke Jungbluth paints ever since

she could hold a brush… as a

child, as a teenager and also

after studying mathematics

and architecture, which have

influenced her first works. She

followed her heart and decided

to pursue the path of an artist,

instead of that of an architect.

She has remained faithful to her

decision of doing so.

Through painting, she wants to

experience new luck and new

delight. Thus, she is consistently

forced into her atelier in Cologne

Altstadt-Nord.

RED HOUSE IN THE MIDDLE

In her first works, she was

fascinated by the manifestation

of mathematical shapes and forms

and architectural structures. Her

works, however, slowly developed

from Realism to the abstract.

river, but its flow - everything is

constantly in motion.

The energy, with which she

portrays patterns, form and lines

artistically, ensure a unique and

repeatedly fresh ambiance.

Through the combination of colour,

independent shapes and dynamic

curves, she lends her works a

characteristic tone.

Through the traces of her personal

artistic handwriting, her artworks

demonstrate motion. Thereby, the

artists’s character and vivacity are

expressed.

Elke Jungbluth’s experimental

experiences, following the shift of

style from architectural themes

and structure, to the present

abstraction through colour and

intuitive shapes, have accompanied

the influence of time.

She wants to excite the beholder’s

curiosity, awaken the pleasure

felt through the feeling of nature,

yearning for levity.

Art responds to time, in which it is

created and reacts to challenges.

It may, however, also offer a

conscious distraction from one’s

surroundings.

For Elke Jungbluth, the time to

express joy and delight through

painting had matured. Through

her works, she consciously sets a

counterpoint, a kind of liberation

from the trauma of catastrophes,

war, hunger and suffering. Her art

seems playful, conveys a sense of

joy, lends an optimism to life and

directly expresses the beauty of

colour and shapes.

Her works intend to serve the

development of the soul and

emanate optimism.

They do not ask questions. Her

colourful artworks portray the

answer and the paths toward

that, which is worthwhile living

for- delightful moments -

conveying an unacquainted

positive aura.

Effortlessly, colour and shape

combinations are spread over the

canvas and set in a, from my point

of view, distinctive balance and

harmony.

SPANISH VILLAGE BY THE SEA

Today, she does not simply portray

the being, but to be, not the flower,

but its flourishing nature, not the

THE FRAUD

5


SCREAMS IN ME

Her works remind the beholder of

one of the first abstract Aquarelles

from Kandinsky from 1910, which

was seen as the cradle of abstract

painting for a prolonged period

of time. Elke Jungbluth’s pieces

are, however, more densely filled,

enabling a sensation of depth,

guided by a sense of sentimentality.

Following the theme of abstract

expressionism and mirroring

shapes, the artist leaves the choice

of style open.

Her pieces are the result of artistic

spontaneity.

The process of painting is the

subject. The tension between

colour and movement, abstraction,

space and area can be clearly felt.

Her works captivate the beholder

to the extent of prohibiting his

sight to rest. We move between

lines and paths and rails, as well as

figures, plants and buildings. She

transforms cities and landscapes

into rhythmical structures.

Thereby, fantastical, dreamlike

landscapes arise. Crowded,

overlapping and consequent,

colours demonstrating and

portraying their limitless paths

- exceeding the edge of the

canvas - merge.

using powerful and lively colours,

make her artwork particularly

distinguishable. In my opinion,

the evolution into abstractedness,

portrays a resolute step Elke

Jungbluth has made.

Her paintings have a characteristic

rhythm. We are unable to detect a

hierarchy in her works - everything

seems equal. Emotion, inspiration

and construction blend into each

other through form-moulding,

explosive painting techniques into

admirable merriment.

In her studio, Elke Jungbluth

creates mood and motion by

unintentional means of music

playing in the background, lending

the art of painting a rhythm, tone

and beat. This is then accompanied

by colour, shape and form, pattern

and composition to give birth to a

new abstract piece.

Elke Jungbluth seizes painting as

an unbound system by pursuing her

ideas and inspiration coherently.

Limits are vanquished, while she

allows colours to run freely and

idly, enabling their independence

to bloom.

Her works reach into space. They

search for contact with their

surroundings and move between

the abstract and composition

(figuration).

The vivacious, feisty impetus,

explosiveness and the reflection

of the expressionistic style,

CREATION

8


Her last works show a radical

reduction in form. From my point

of view, they live from dynamics

and colour.

As well in nature as in painting,

colour takes the role of a powerful

medium, that can convey aesthetic

emotions.

The artist has developed a unique

and unmistakeable talent for this

purpose. With her pronounced

sense for and knowledge of colour,

she creates paintings for an

optimistic future. She downright

drives her colours to an always

brighter radiancy. “It is delightful

to live by giving and obtaining

the joy of the beholder.”, is what

orange, yellow, blue and green on

her canvas mean to say.

The unconventionally inspired

explosions of colour in her most

recent pieces take up multiple

phases to form.

An essential element is colour itself,

that Elke Jungbluth uses, to even

out with a scraper, stroke with a

brush, or to simply let it drip and

flow on the canvas; guided by the

central motif and theme, walking

into intersecting paths.

Remember how the artist Willem

de Kooning once said: “Painting is

that voiceless chapter, of which we

may talk about endlessly.”

OH HAPPY DAY

February 2019

Dr. Edelbert Dold

DISCOVER MORE

www.ekses.de

THE SUMMER

CANDY PARK

9


THE PAINTED HALL

THE OLD ROYAL NAVAL COLLEGE

VESTIBULE DOME © NIKHILESH HAVAL


England has ever produced but, as

I am sure he would have been the

first to admit, he was not on a par

with Michelangelo.

Why was the Painted Hall at

the Old Royal Naval College

commissioned?

It was commissioned to showcase

the cultural and artistic brilliance

of a nation, emerging from a

period of instability and to provide

a ceremonial centre piece for this

grand new charitable project - the

Royal Hospital for Seamen.

Who was Sir James Thornhill?

Thornhill was an emerging artist,

born in Dorset in 1675. He was an

apprentice to Thomas Highmore

(appointed Sergeant Painter to

William III in 1703) of the Painter

Stainers Company and began

his career undertaking private

commissions for prominent

(predominantly Whig) landowners.

In 1707 he won the Greenwich

commission which he finally

completed in 1726. In 1715 he was

also awarded the commission to

decorate the dome of St Paul’s

Cathedral in 1715. He was knighted

in 1720 and died in 1734.

VIEW FROM THE VESTIBULE © NIKHILESH HAVAL

Please can you introduce yourself

to our readers?

My name is William Palin, the

Conservation Director at

the Greenwich Foundation.

I am responsible for the

conservation, care and

maintenance of the buildings

and grounds in the demise of the

Greenwich Foundation for the Old

Royal Naval College, including

the four great Grade I-listed

courtyard buildings designed by

Sir Christopher Wren and built as

the Royal Hospital for Seamen

between 1696 and 1750. The

site (about 8 acres) comprises

two Scheduled Monuments - the

buildings above ground and the

remains of the earlier, Tudor,

Greenwich Palace below ground.

The Painted Hall has been

referred to as the ‘Sistine Chapel

of the UK’ what is your views on

this statement?

I think this is helpful to explain

to be people who haven’t visited

the site, just how spectacular and

important the Painted Hall interior

is, but the two buildings are very

different in terms of how and why

they were painted. Thornhill was

the most brilliant ‘history painter’

What was the techniques Sir

James Thornhill used?

Thornhill produced a large amount

of preparatory sketches, before

executing his scheme direct on the

dry plaster surfaces in the Painted

Hall. He painted the architectural

framework first and then added

the figures and other elements.

To give some context to when the

hall was painted, could you briefly

explain what was happening in

the world at this time?

During the 17th century, England

emerged as a major European

power with a powerful navy and

land army. It was now trading

across the globe and was a

determinate power in Europe.

11


PAINTED HALL CEILING © NIKHILESH HAVAL


Could you explain the meaning

behind the paintings?

The main painting ‘The Triumph of

Peace and Liberty over Tyranny’

celebrates the founders of the

Royal Hospital, William III and

Mary II. They are shown under

a canopy of state, with the king

passing an olive branch and cap

of liberty to a kneeling figure

representing Europe. The king is

trampling on a figure representing

‘arbitrary power and tyranny’ Louis

XIV of France.

Elsewhere in the ceiling England’s

Naval power and scientific

understanding, is shown to

underpin mercantile prosperity.

VIEW FROM THE UPPER HALL © JAMES BRITTAIN

Do you know any hidden

meanings or myths around the

paintings?

The meanings of the paintings are

explained in the guide book which

Thornhill himself published in 1724.

Not all the figures are identified in

this pamphlet however, some may

be portraits of familiar historical or

contemporary figures.

What would you recommend

visitors to do or know before they

see the paintings, in order to

enhance their experience?

Explore our new interpretation

gallery and use the wonderful new

multi-media guide, available with

the ticket price.

SPANDREL FROM THE VESTIBULE DOME WITH ROYAL INSIGNIA

© NIKHILESH HAVAL

You have the Lower Hall ceiling,

the Upper Hall ceiling and the

west wall. What is the differences

between them. Do you have a

favourite section?

The Lower Hall ceiling is

free-er and more ‘baroque’ in its

composition. The later Upper Hall

ceiling is stiffer and more formal,

reflecting the changing styles of

the time.

VIEW OF THE WEST WALL © JAMES BRITTAIN

13


PAINTED HALL CEILING © JAMES BRITTAIN


PROSCENIUM ARCH © NIKHILESH HAVAL

In March 2019 the Painted Hall

was restored and reopened after

two years. What stimulated the

restoration project?

The need to clean and conserve the

paintings and ensure their longterm

preservation, by improving

the environmental conditions in

the Hall.

What was the process of the

restoration?

The process involved three

different methods - 1. A surface

clean with deionised water 2. The

gentle softening or ‘mobilisation’ of

the existing varnished layer, using

solvents in order to remove the

whitening of the surface 3. In a

few places some flake fixing and

consolidation.

What challenges did you face with

the restoration?

The scale of the project was

very challenging involving the

conservation of 40,000 sq ft

of painted surface. Conditions

were not easy, the small group of

conservators (no more than 7 at

one time) worked standing up and

sometimes in severe heat and cold.

Was traditional or modern

techniques used?

All techniques were based on

traditional approaches but using

modern conservation material.

Did you learn anything new from

the process of restoring these fine

paintings?

We learnt a lot about why the

whitening (blanching) occurs and

how this is affected by fluctuating

relative humidity in the Hall.

How have you used new

environmental interventions to

drastically slow down any future

deterioration of the paintings?

We have stabilised the relative

humidity (RH) using a range of

strategies, including a new visitor

route with environmental buffers

such as the glazed screen in the

undercroft; a new heating system

to circulate air more gently and

effectively and solar shading on the

windows.

After completing the restoration

of the Painted Hall, if you could

go back, would you do anything

different?

No!

What is the future for the Painted

Hall?

We hope it will be another 100

years before we have to treat the

paintings again. In the meantime, it

is there for everyone to enjoy and

to inspire and delight visitors.

16


DISCOVER MORE

Website: ornc.org

Email: info@ornc.org

Phone: 02082694747

Ticket information:

Pay for a day and come back free

for a year

Pay As You Wish Wednesday (first

Wednesday of every month)

Adults: £12

Kids 16 and under go free*

Concessions available

*Up to 4 children per paying adult

Ticket includes:

• Entry to the Painted Hall

• Multimedia Guide to the

Painted Hall

• Expert talks throughout the

day

• Free activities for children

• Guided tour of our grounds

and buildings – Sir Christopher

Wren’s masterpiece

• Entry to the Victorian Skittle

Alley

Transport

SOUTH WALL IN THE UPPER HALL, DEPICTING THE ARRIVAL OF

WILLIAM III IN TORBAY © NIKHILESH HAVAL

Greenwich Pier (1 min walk)

DLR Cutty Sark (3 mins)

Greenwich Station (10 mins)

Opening Times:

Painted Hall (ticketed)

10:00 – 17:00

Visitor Centre & Chapel (free to

visit) 10:00 – 17:00

Old Royal Naval College grounds

(free to visit) 08:00 – 23:00

The London Pass is accepted.

WEST WALL DETAIL © NIKHILESH HAVAL

WINDOW AND NAVAL BENCH

© JAMES BRITTAIN

17


THOR RAFNSSON


Please introduce yourself to our

readers?

My name is Thor Rafnsson born

in Reykjavik, I live and work in

Denmark. Art and above all else,

visual arts, have always been my

big interest.

Tell us about your education?

I received my education at The

Icelandic College of Arts and

Crafts.

Along with my education I worked

in the evenings as an assistant

to known Icelandic artists. My

personal theme in my images

have been woven by my own

development in life. In 1995 when I

began work within Anthroposophy,

I got a new inspiration for my work

and developed an entirely new

artistic impulse.

The Waldorf education and the

work there has given me a lot of

influence while developing my

personal style. It was during those

years of study, that I found my

internal expression in my pictures.

Describe your work?

The colours are most often light

and I endeavour to capture after

concord and balance.

Through the pictures I also want to

try and express mankind’s internal

spiritual room, where the creation

of the images occur.

How to pick a subject to paint?

Most often I find my subject

through the people I meet in my

everyday life. Some encounters

spur my imagination and I get the

urge to put what I feel on canvas.

THE LAID BACK WOMEN

19


I usually enjoy listening to

audiobooks or listening to music,

things like David Bowie or Pink

Floyd.

How does nature effect your

work?

Nature is a big part of what I do

and I endeavour to emulate her in

my art. Her colours, shapes and

mood speaks of that concord and

balance that I want to find when I

create my work.

Who is your favorite artist and

why?

I have many, but the one that

sticks out the most right now is

David Bowie and his ingenious

way of having to always been able

to renew his artistry, finding new

ways to express his music. This is

something I try to emulate myself

as to not get stuck in a groove

and get bored with the creation

process.

Which artists inspire your own

art?

Do you ever see yourself in one of

your portraits you have painted?

It happens, most often in a

symbolic way. I think every

painting an artist puts out has

some of him or her in it always.

It can be the way one felt at that

moment, a feeling you would like

to capture or a space to explore.

How long does a piece take and

do you have a process you go

through?

It depends on my personal

motivation, or when I feel ready

to put what I am processing on

canvas. Sometimes it can be a

matter of days, other times a

matter of weeks.

THE MAN FROM THE PAST

After you have completed a

piece do you feel you have learnt

anything?

Every painting is often something

new, both technically and

spiritually.

I can change my style of painting

often to suit what I want to express

and sometimes it is even a struggle,

which forces me to explore new

avenues, so that I can reach the

visual language I want to express.

Do you work from a photograph or

a real sitter?

I work with both and sometimes

from imagination.

What do you like to do when not

creating art?

Erro, an Icelandic artist with vivid

and energetic artwork that really

boggles the mind and of course

Salvador Dalí.

If you was not an artist what

would you be?

I can’t say, all the persons or roles

I think of has some kind of artistry

involved in it. I don’t think I would

be anything else at all really.

Has social media affected the way

you view your work?

To say that it hasn’t would be lying.

The abundance of access to both

inspiration, other people’s works

affects me every day.

As well as the ease with which

people can criticize or praise your

work, it can be both good and bad.

20


I HEAR YOU

UNBOUND

What has been your favourite

piece?

I Hear You

Do you learn from criticism of

your work?

Like with everyone, yes, if it is

constructive. Really it is hard to

take criticisms on your pieces

when so much of yourself is

reflected in them. It is needed

though, for ones continued growth

as an artist.

What are your future plans?

I want to continue my painting and

hopefully get to put it on exhibit in

2020.

DISCOVER MORE

www.thorrafnsson.dk

Instagram: @thor.rafnsson

Facebook: @thor.rafnsson

22


NÉ BARROS


Layer by layer, Né Barros builds

abstract shapes, highlighting the

beauty found in the process itself.

The central theme of his work

is colour, texture, roughness

and all its plasticity, strongly

influenced by the beauty of

nature. His work seeks in nature

forms in the relationship between

natural elements and those man

made. Nature has its own way of

reinventing itself and over the

years regenerates as well. Né

Barros strives for perfection in

imperfections, insignificant marks

and neglect that nature creates in

the chaos of the human footprint,

searching for grandeur and a

myriad of colours that coexist

within nature.

The artist instinctively works

with textures and colours. The

materials used are deconstructed

using methodically plastic

materials - spreading, burning

and tinting. Time is invested in

its realisation: the artwork can

take days, weeks or even years

to create. Starting and starting

over, sometimes letting the

work breathe, allowing to evolve

organically. Each piece is built

with layers of paint, glue, resin,

beeswax, in three-dimensional

abstract forms that hover between

object and image. Together they

create a unique, visual and tactile

landscape, forming depth and

texture challenges for the viewer

to reflect upon.

Born in Almada, Portugal in

1964, Né currently has his studio

based in Portugal. He started as

a self-taught artist however, his

curiosity and the constant thirst

for learning and keeping abreast

of new trends have made him

complete his artistic training in

painting, at the school of Arts

of the National Society of Fine

Arts, Lisbon. Subsequently having

a complementary year of Atelier

with the master Jaime Silva, where

he acquired new concepts and new

techniques.

COLOR MOVEMENT N° 2

25


In 1998 he began to exhibit

his work, starting to perform

exhibitions regularly both

individually and collectively.

Participating in prestigious group

exhibitions, personal highlights

of exhibiting in New York City

and London. Né Barros has had

works sold around the world in

private collections and in public

collections. Furthermore, being a

member of several artistic orders,

having been awarded in Spain and

in Italy.

His artwork is spontaneous and

inventive, the painting that he

SUSHI

performs utilises a strong linear

drawing of schematized shapes.

Style of slightly contrasted charged

colours that, by their strength, are

able to transfigure the surrounding

world into an inner universe.

The artwork is a prime vehicle for

conveying sensations and emotions.

The painting is your stage leaving

you an infinite palette of colour,

this colour with an expressive

trait, which gives plastic force

and results in it various readings.

Brushstrokes are important with

in the work building the piece

together, creating your imaginary

world, this world with a colourful

richness, developing an aesthetic in

the approach to canvas. The pieces

translate a pictorial narrative rich

in colour and movement, allowing

the spectator to be carried away

by their organised chaos. With

his works he seeks to interact

with today’s complex world of

free form, spontaneity and above

all instinctive. Né Barros work,

allows instinct and inspiration to

come in explosions, chromatic,

accompanied by changeability

and shifting energy with rich and

abundant textures.

26


He says the following “I seek

above all, that my work reflects

light, colour, freedom and daring,

conveying to the recipient pleasure,

joy and contemplation. Allowing

the art lover to have several

readings of the work, which can

be observed from various angles,

directions and that after come back

again, starting from the beginning

but now discovering new ways. In

painting I like the amazing universe

of recipients who with she relates.

Diverse, unexpected and as rich as

human life itself. Around my works

coexist with the most disparate

looks, experiences, personalities

and know. Everyone looks at her,

but only each one feels and lives. ”

In painting, the artist hopes that

the work will neatly translate what

he thought and felt disorganised.

So more than images, seeks to

convey the emotions without

which his work would not have

certainly existed. But more

important than the emotion you

seek to convey, is that painting

causes emotions in people. The

free creation must be rediscovered

in the freedom of emotions that

their recipients lets you manifest.

As an artist, Né Barros considers

himself a marker of time, his works

reflect a wave of contemporaneity.

They are expressive and rhythmic

to the sound of the new life we

lead, always at a rapid pace and no

time to contemplate all the beauty

around us.

The artist was inspired by The

New York School, which was an

informal group of abstract painters

and other artists in NYC though

it has become associated most

with the abstract expressionist

movement. He references Willem

de Kooning and Arshile Gorky

and Jackson Pollock. In 2019 Né

began working in new mediums and

trying new painting techniques, by

mixing and remixing both oil and

acrylic and begins the exploration

of Encaustic painting. This being

is a mixed media technique that

involves using heated beeswax, to

which coloured pigments have

been added. The liquid/paste is

then applied to a surface, usually

prepared wood, although canvas

and other materials are often used.

COLOR MOVEMENT N°15

The term is derived from Greek,

meaning a burning in. An ancient

art begun by the Egyptians 5000

years old A.C.

Having already thirty years of an

artistic career, he continues as if

it had begun yesterday. Curiously,

constantly seeking new approaches

and new abstract languages, often

letting ink flow into their chaos,

trying to control and guide this

chaos to its intended effect.

DISCOVER MORE

www.nebarros.net

@artist_nebarros

COLOR MOVEMENT N°16 COLOR MOVEMENT N°6

27


THE TIMES SQUARE

EDITION

NEW YORK


EDITION USHERS IN A NEW

ERA FOR TIMES SQUARE

Ian Schrager recreates and

reinvents the golden age of this

world-famous icon for the present

The Times Square EDITION may

just be the long overdue and best

thing to hit Times Square in over

a century. There simply has never

been anything like it before in

New York City’s famed cultural

and entertainment mecca. Ian

Schrager, in partnership with

Marriott International, introduces

a new order with the first chic and

sophisticated luxury hotel and

the first Michelin-starred chef

ever to grace the neighbourhood,

along with the creation of a new

form of Cabaret theatre and a

complete reinvention of billboard

art. But what could be the most

important part is a revitalization of

Times Square that will attract not

just visitors and tourists, but New

Yorkers as well, punctuating the

area as the City’s epicentre and

crossroads of the world...again.

Throughout the decades, Times

Square has seen myriad changes

and has taken on many iterations.

By World War I, it was the

centre of culture, nightlife and

entertainment. By the 40’s and

50’s, the Latin Quarter Nightclub

presented festive floor shows

that featured chorus girls and

can-can dancers, Frank Sinatra,

Frankie Laine and the Andrew

Sisters. There was Tin Pan Alley,

the Copacabana and the Theatre

District. There was Roseland,

Birdland, Ella Fitzgerald, marathon

dancing, hot jazz, Doo-Wop and

the pop rock of the Brill building

as well as the invention of the

now gossip columns. It was a

democratic “meeting place” and

nothing exemplified the disorder

of the city or the dichotomy

of high and low art than Times

Square. Sadly, however, the Great

Depression and World War II

took its toll on the area and Times

Square began its decline. From

the 60’s onward, the area was

riddled with adult entertainment,

prostitution, drugs, and crime. It

wasn’t until the mid-80’s when the

Marriott Marquis opened its doors

and Disney debuted The Lion King

at The New Amsterdam Theatre

that the clean-up began with the

redevelopment of new theatres,

retail, hotels and eateries.

Despite Times Square’s notorious

reputation, it has managed to

maintain itself as a symbolic global,

geographic and cultural icon. It had

long been home to media giants

as well as the centre for theatre,

music, culture and entertainment.

This adventurous mold-breaking,

however, has disappeared. Today,

Times Square and its overindulgent

commercialization lacks the

substance and sex-appeal that

once distinguished its streets. It is

hungry for a Renaissance and The

Times Square EDITION will usher

in a new era. The hotel and all of its

unique offerings seek to preserve

the essence of the area during

its Golden Age when it was the

microcosm of the best New York

City had to offer.

From the moment you enter the

hotel’s doors on 20 Times Square

at West 47th Street, you are

transported to another world-a

ENTRANCE

decompression zone. A long ivory

hall with venetian plastered walls

and ceiling and a floating custom

green mirrored stainless sphere

inspired by Anish Kapoor and the

colours of Jeff Koons await you.

Once you arrive at the Lobby and

Lobby Bar, a series of black and

white spaces, you are convinced

that you are no longer in colourful

Times Square anymore. The refined

and pristine spaces of The Times

Square EDITION are juxtaposed

against the energy, vibrancy and

chaos of Times Square. Each

of these two extremes serves

the other yet each stands on its

own. But together, something

new, original, and even stronger

is created. Indeed, with this

alchemic symbiosis, a new reality

and a virtual fourth dimension is

created. As you move in and out

continuously, the space becomes

boundaryless. This clash of worlds,

this surreal sense of space and time

is best experienced on the outdoor

terraces, appropriately named the

Bladerunner Terraces, that frame

the various public space floors.

On the terrace off the Lobby Bar,

you can choose to be in your own

private oasis escaping in a cocoonlike

area or face the brilliance of

flashing light and colour of Times

Square for the best light show in

the world.

31


Off the Terrace Restaurant, a

similar feeling awaits on expansive

terraces that were inspired by

the L’Orangerie at Jardin des

Tuileries in Paris. The outdoor

space in totality with thousands

of plants, trees and ivy is perhaps

the biggest indoor landscaping

effort in the country was designed

by Madison Cox and is literally,

multi-level gardens in the sky. The

public space interiors with their

rich woods, lush velvets, waxed

leathers, polished marbles and

smooth metals are combined to

create a chic, simple, hip, serene

and luxurious setting, an antidote

to the hectic life just outside the

hotel’s doors.

“The Times Square EDITION is

an entirely new lens on Times

Square. From an aerie above the

hubbub below, you can engage,

observe or withdraw. The hotel is

an oasis of sophistication brought

to you through the insight of the

THE TERRACE RESTAURANT

incomparable Ian Schrager, my

friend and partner. There is simply

nothing like it.” Arne Sorenson,

President and CEO, Marriott

International

TERRACE RESTAURANT ENTRANCE

The entrance to the Terrace

restaurant will host the debut

exhibit of specially curated candid

portrayals of “the real New York

City”, the one not seen by visitors,

capturing energetic, gritty and

poetic street and neighborhood

scenes by renowned photographers

Helen Levitt, Elliott Erwitt, Bruce

Davidson, Ruth Orkin, Arthur

Leipzig and Cornell Capa to

name a few. The following exhibit

will shift to more current street

scenes illustrating the culture and

diversity that pervades the city

today. The space will continue to

house rotating photography and

art exhibits by various well-known

photographers and artists.

“Why theatre? It’s live. It’s real. It’s

the closest thing to dreams. Having

theatre born out of order negates

the whole point. What we make

comes from utter chaos. Chaos is

where we learned to do this even

before we knew what we were

doing.” Anya Sapozhnikova

The shows will be part theatre,

part performance art with talent

34


across many disciplines including

dance, voice, aerial acrobatics,

choreography, costume design

and magic. There will be a regular

ongoing performance based on

William Blake’s The Marriage

of Heaven and Hell. With no

formulas, rules or any specific

structure, but not for shock value,

each performance at Paradise

Club will be different from the

previous one and different from

the next. For a new twist on dining

and entertainment, the menu will

be original and creative from hot

dogs to caviar and everything in

between.

“Paradise Club is a place of

aspiration...Invention and

reinvention...A refuge to enjoy

life and forget life and the perfect

place to escape into fantasy.” Ian

Schrager

This one-of-a-kind cultural

entertainment space also features

the most sensational, immersive,

colourful and kinetic lighting

effects designed by Tony and

Academy Award-winning Fisher

Marantz of Studio 54 fame and

inspired by a Lenny Kravitz video,

as well as bespoke hand painted

murals inspired by Bosch and

Dali--a modern successor to the

world famous Maxfield Parrish’s

King Cole mural on Fifth Avenue.

Perhaps the most spectacular

element of the space is the

full-blown production studio and

control centre that allows for live

simulcasts and broadcasts around

the world, as well as locally to

a “Best in Class” 17,000 sf-8K-

8mm Jumbotron outside of the

building and a high definition

digital screen on the stage. The

exterior Jumbotron will also display

rotating art by current video artists,

cinematographers and animators.

THE TIMES SQUARE EDITION EXTERIOR

DISCOVER MORE

www.editionhotels.com/times-square

All images taken in The Times Square

EDITION feature have been taken

by Nikolas Koenig.

LOFT SUITE

35


FRANCIS AKPATA


My initial foray in art was as a

young boy that liked to draw

comics and depict superheroes

like Spiderman, the Incredible

Hulk and then started painting the

characters in Star wars like Darth

Vader. With Star wars I decided

to place the characters in settings

like the desert and in mountains. I

always retreated to this world, to

depict any subject I was interested

in.

Once while painting the seaside

as a teenager, I painted the river

and sky green. My fellow students

looked at it as awkward, while my

tutor said it is like an impressionist

painting. This led me to also study

history of art movements like

impressionism, expressionism,

cubism.

I studied philosophy at Kings

College London and focused on

aesthetics. I studied the aesthetics

of Immanuel Kant, Friedrich Hegel

and Schiller. After graduation

I took life drawing and painting

courses at the City Literary

institute.

In art I am primarily concerned

with the concept of the sublime.

The sublime normally refers to

something unusual , it surprises

us and takes us to a new direction.

This being physical or conceptual.

We describe something as sublime

when it stretches our imagination

and understanding in that we

are going beyond obviates of our

usual expectation or calculation

and so we tend to ponder a bit

before we comprehend what the

artist has painted. The German

Philosopher Kant, put the sublime

into 3 categories the noble, the

splendid, and the terrifying. Kant

also described the sublime as taken

forms which are the “mathematical

and dynamical”. A painting

becomes sublime when it compels

us to reflect while comprehending

the painting as the impressionist,

surrealist or fauvist have done in

the past with any new genre.

BEETHOVEN AFTER EROICA

This is what I attempt to depict

with my paintings, I am particularly

interested in altering or affecting

the audience’s perception of a

person, an object or concept.

I also like to place a painting in

different settings or context. I have

exhibited with a group called Art

Below where we exhibit a painting

in a gallery and then placed a

poster of the painting in an open

space, like the train station or a bill

board poster. I like the reaction

of the audience when they see a

painting or sculpture in a setting

where they would not normally

expect it.

THE LABYRINTH

I am particularly influenced by

three art movements, German

expressionism in relation to my

use of colour, Cubism/African

sculpture when it comes to drawing

or use of space. Perspective and

abstract expressionism, in relation

to depicting subconscious ideas.

37


I have an initial idea and then

slowly decide which style would

be most apt to depict the idea.

Following Kant’s idea, I aim

not just to depict the beautiful

which “relates to the form of

the object” and has “boundaries”

which reduces the ability to depict

anything that will challenge the

audience’s expectations. Kant

said the sublime “is to be found

in a formless object” which is

represented by “boundlessness”.

That “boundlessness” quality is

what I want the subject to have

in my painting. I paint in the

representational and abstract form.

With representational I choose

my subjects when I am interested

in something that relates to the

subject or have met someone

that has an interesting face or

unique personality. I have done

a series of portraits of Jazz and

classical composers. The style here

is a mixture of expressionism in

the use of colour and cubism in

terms of space and perspective.

JOHN COLTRANE “BEFORE ASCENSION”

With representational painting, I

am more focused on using my

conscious mind and imagination

but would like the perceiver to

have a variety of interpretations.

I have less control with abstract

painting, In that while meditating

or carrying out an unrelated

activity, a theme or idea comes

to me. This could be listening to

music or watching a film. That

Idea becomes the subject of the

painting. . I usually stand in front

of a canvas and paint until some

patterns and shapes form a rhythm

and format of their own. Abstract

painting teaches me to trust my

subconscious mind, to create

patterns with colour and take

me for a journey to reach its own

destination. I like abstract painters

like Kandinsky, Hans Hoffman and

Mark Rothko. They enable us to

see how colour and form, without

representing anything in particular,

give us the feeling of perceiving the

sublime. The same occurs with the

paintings of Van Gogh, Basquiat

and Lucien Freud.

I like to play classical or ambient

music when painting. With a

representational painting, the

music makes me focus and

concentrate on detail. While

painting abstract, the music

enables me to tap into the

subconscious meditative mood.

In the future I aim to make

installation videos with

performance artists.

DISCOVER MORE

www.francisakpata.com

MILES DAVIS “MUSIC FROM THE STILL POINT”

40


MEANDERING SEAMLESSLY

41


LUCIAN FREUD


Lucian Freud: The Self-portraits

will be the first exhibition to

focus on the celebrated artist’s

visceral and unflinching selfportraits.

Executed over almost

seven decades on canvas and

paper, the exhibition will bring

together around 50 works that

chart Freud’s (1922-2011) artistic

development: from his early,

more linear and graphic works to

the fleshier painterly style that

became the hallmark of his later

work. The majority of the works

are from private collections and

a number have not been seen

publicly for several decades.

The exhibition will be organised

following a loose chronology in

six sections, revealing Freud’s

unexpected and wide-ranging

exploration of the self-portrait.

Freud was once asked if he was a

good model for himself, to which

he replied “No, I don’t accept the

information that I get when I look

at myself and that’s where the

trouble starts”. This ‘trouble’ led to

a continuous confrontation with

his self-image that went in tandem

with his interrogation of paint. This

will be highlighted within the first

section that places his first major

self-portrait, Man with a Feather,

1943 (Private Collection)

alongside his late work Selfportrait,

Reflection, 2002 (Private

Collection). While the first reveals

the tight brushwork that would

define his early period, the latter

exemplifies the use of impasto

and the technical virtuosity of his

mature work.

SELF-PORTRAIT, REFLECTION, 2002

MAN WITH A FEATHER, 1943

The second section will focus on

Freud’s early works, including

his drawings and sketchbooks.

They reveal a playfulness in his

presentation of his own self-image

that was especially evident into

the 1960s. He depicts himself in

the mythological guise of Actaeon

(Self-portrait with Antlers), 1949

(Private Collection), and as a

character in illustrations for plays

and stories such as Flyda and

Arvid, 1947 (Private Collection).

STARTLED MAN: SELF-PORTRAIT, 1948

Freud also began to put himself

in and out of the frame, his eyes

peering from the bottom of a page,

or his side profile from the edge

of the canvas such as in Still-life

with Green Lemon, 1947 (Private

Collection).

43


44

HOTEL BEDROOM, 1954


Freud’s work from the 1950s

traces a gradual transition towards

his mature style, prompted in part

by changes to his working method,

which will be the focus of the third

section of the exhibition.

Hotel Bedroom, 1954, (The

Beaverbrook Foundation,

Beaverbrook Art Gallery,

Fredericton) is the last work Freud

painted sitting down at the easel.

He said, “I felt I wanted to free

myself from this way of working.

When I stood up I never sat down

again”.

Freud’s intense friendship with

Francis Bacon contributed to

another development, seen in

works such as Self-portrait, c.1956

(Private Collection). Adopting

the use of more coarse hog’s hair

brushes helped further open up his

brushwork towards the sweeping

impasto that would become

characteristic of his later work.

SELF-PORTRAIT, C. 1956

MAN’S HEAD (SELF-PORTRAIT III), 1963

Further sections of Lucian Freud:

The Self-portraits will reveal his

working process, where a number

of sketchbooks and unfinished

portraits will be on display. At

times Freud gave his brushwork

a sharper edge, to suggest a door

lintel or trace a separation between

wall and floor, locating the artist in

his own studio.

At others he drew attention to the

reflected source of his self-image

by depicting mirrors, which can

be seen in Hand Mirror on Chair,

1966 (Private Collection). Freud

stated that he used mirrors to

remain true to visual experience,

as well as to try and see himself

from unconventional angles and

capturing aspects of his face visible

to others but that he remained less

familiar with.

The final sections will examine

Freud’s later self-portraits, in

which his mastery of paint is

matched by the imposing and

uncompromising image of himself.

Works such as, Reflection (Selfportrait),

1985 (Private Collection,

on loan to the Irish Museum

of Modern Art) possesses the

intensity and penetrating stare

for which Freud was renowned

throughout his career.

In 1993, shortly after he turned

70, Freud completed Painter

Working, Reflection, 1993 (Private

Collection): “Now the very least

I can do is paint myself naked.”

Having given new expression to

the nude in his portraits of others,

Freud turned his unflinching

gaze back onto himself, depicting

himself naked but for a pair of

unlaced boots.

Between 2002 and 2003 Freud

painted two further self-portraits.

Sombre in mood, they show him

now in his 80s, clutching his

scarf and resting his chin on his

hand, his face gaunt and built up

with thick layers of paint. Freud’s

portraits chart a life’s journey, from

young boy to old man, in what

was effectively an ongoing study

into the process of ageing and the

changes it inflicted on his own

physical form.

Few other artists in the 20th

century have portrayed themselves

with such consistency.

45


REFLECTION WITH TWO CHILDREN (SELF-PORTRAIT), 1965

Lucian Freud biography

Lucian Freud, OM (8 December

1922 – 20 July 2011) is celebrated

as one of the foremost 20thcentury

painters. Born in Berlin

in 1922 to Ernst L. Freud and

the grandson of Sigmund Freud,

Freud’s family moved to Britain in

1933 to escape the rise of Nazism.

In 1939 he attended the East

Anglian School of Painting, after

enrolling for only a short time at

the Central School of Arts and

Crafts in London the previous

year. Freud moved to London in

1943 and over the next few years

he became closely involved with

the London arts scene, forming a

particularly close friendship with

Francis Bacon. In 1944 Freud was

given his first solo show at the

Lefevre Gallery in London.

Freud’s early career as a painter

was influenced by surrealism, but

by the early 1950s his

paintings tended towards realism

and drawing became less prevalent.

From 1954 Freud no longer sat

down to paint, finding standing to

be less restrictive, and by 1956,

having chosen to work with coarser

hog’s hair brushes there was a

dramatic stylistic shift in his work.

By 1966 Freud moved away from

painting only the heads of sitters to

full-length portraits, although his

self-portraits remained focused on

his head and torso. In 1977 Freud

moved to a top-floor apartment

in Holland Park, which continued

to be his studio for the rest of his

career. In 1990 Freud met the

artist David Dawson, who became

Freud’s studio assistant and

remained his close friend, assistant

and model until Freud’s death. In

46


1993 Freud was made a member of

the Order of Merit, limited to only

24 living recipients at any one time.

Freud was an intensely private man,

and his paintings, completed over

a 60-year career, are mostly of

friends and family. He died in 2011

at the age of 88, having worked

until two weeks before his death.

Organisation

The exhibition is organised by the

Royal Academy of Arts, London

in collaboration with the Museum

of Fine Arts, Boston. It is curated

by Jasper Sharp, Adjunct Curator

for Modern and Contemporary Art

at the Kunsthistorisches Museum,

Vienna, and David Dawson, painter

and photographer, and Freud’s

former studio assistant with

Andrea Tarsia, Curator at the Royal

Academy of Arts.

The exhibition will travel to the

Museum of Fine Arts, Boston from

1 March – 25 May 2020.

Dates and Opening Hours

Sunday 27 October 2019 –

Sunday 26 January 2020

10am – 6pm daily

(last admission 5.30pm)

Fridays until 10pm

(last admission 9.30pm)

Admission

Full price £18.00 (£16.00

excluding Gift Aid donation);

concessions available; under 16s go

free; Friends of the RA go free.

Tickets

Tickets are available daily

at the RA or by visiting

www.royalacademy.org.uk.

About the Royal Academy of Arts

The Royal Academy of Arts was

founded by King George III in 1768.

It has a unique position in being

an independent, privately funded

institution led by eminent artists

and architects whose purpose is

to be a clear, strong voice for art

and artists. Its public programme

promotes the creation, enjoyment

and appreciation of the visual arts

through exhibitions, education and

debate.

The Royal Academy launched

a new campus as part of the

celebrations of its 250th

anniversary year in 2018. Following

a transformative redevelopment,

designed by the internationallyacclaimed

architect Sir David

Chipperfield RA and supported

by the National Lottery, the new

Royal Academy of Arts reveals

more of the elements that make

the RA unique – sharing with

the public historic treasures

from its Collection, the work of

its Royal Academicians and the

Royal Academy Schools, and its

role as a centre for learning and

debate about art and architecture –

alongside its world-class exhibitions

programme.

DISCOVER MORE

www.royalacademy.org.uk

All works by Lucian Freud and

© The Lucian Freud Archive /

Bridgeman Images

Group bookings: Groups of 10+

are asked to book in advance.

Telephone 020 7300 8027 or

email adultgroups@royalacademy.

org.uk.

BURLINGTON HOUSE COURTYARD ©FRASER MARR

47


JESSICA M. HANCOCK


Jessica Marie Hancock (formerly

Springman) is a visual artist

producing highly detailed drawings

with strong geometric elements.

She received her Bachelor’s

degrees in Communication and

Art from Westminster College of

Salt Lake City in 1998. Interested

in the concepts of design and

spatial relationships, her work

explores the idea of abstraction, as

it relates to aesthetic uniformity

and universal balance.

Her artistic style is very clean and

has been described in many ways,

but the favourite is “Vennism” -

breaking apart multivariate reality

into constituent and relational

elements, as separated and nested

2D representations.

Everything Jessica draws is done

entirely by hand using only a

compass and ruler as guides.

Early in the artists life, Jessica

noticed that she was able to draw

better than most of her classmates.

Even before realising (or really

caring) how art was used privately

or commercially, people would

complement her on the ability of

the work she produced, labelling

it a “gift,” and emphatically

encouraging her not to waste

it. Later on understanding and

appreciating the “art world” and

as more and more people started

asking if the work was available for

sale, realising the potential to make

a life with the “gift.”

Contemporary art is typically

distinguished by the lack of a

uniform organising principle,

ideology, or -ism. This freedom of

expression gives voice to the varied

and changing cultural landscape

of identities, values, and beliefs

that are rapidly emerging and

converging worldwide today.

The art produced is highly

sophisticated, very detailed and

clearly ordered. It is not created to

be interpreted as “sacred” or based

in any way on the principals of

mandala. There are similarities that

people often point out, but that’s

the abstract nature of her work,

doing exactly what contemporary

art is supposed to do - leave the

viewer free to interpret the art

from their own unique perspective

- spatially, spiritually and

emotionally. If they “see” answers

to the mysteries of Life in her work,

good for them.

PRISTINA

49


Audiences also play an active role

in the process of constructing

meaning about works of art,

especially in the contemporary

sense. The viewer contributes to

(and sometimes even completes)

the artwork by offering his or her

personal reflections, experiences,

opinions, and interpretations. They

can revel in the detail or focus on

the overall composition. It doesn’t

matter and THAT is what makes it

art - It was made , but the second

it is shared by Jessica, it becomes

irrelevant and the viewer’s “self”

take control.

DARKNESS

is figuring out how to faithfully

render it on paper.

Jessica has been the focus of many

solo exhibitions and included in

over 65 art shows since 2013. She

is the recipient of various honours

and awards, including membership

with the National Association

of Women Artists (2017), a

Distinguished Artist Award from

ArtAscent Art & Literature Journal

(2016) and the 2015-2016 Stutz

Artist Association Studio Resident

Award (Indianapolis, IN). She was

also awarded one of 12 seats at

the Butler [Indiana] University

Religion, Spirituality, and the Arts

Symposium in 2016.

Nothing in the universe is truly

random and everything, however

small, has a purpose. Jessica

strives to express these personal

truths in all of her art. Everything

is created entirely by hand using

only a ruler and compass as guides,

rarely sketching and with no maths.

The finished image is completely

in Jessica’s mind. The challenge

WELCOME RACE FANS INSTALLATION

52


Jessica’s work was recently used

by Pearl Drums, the Indianapolis

Motor Speedway and the Boy

Scouts of America.

She has been published twice by

Westminster John Knox Press and

can be found in print circulations

including ArtAscent, StudioVisit

Magazine and Artblend Gallery’s

“The Art Book 2019”.

She is represented by the

Directory of Illustration, the Art

Works Gallery (Cedar City, UT),

the Evan Lurie Gallery (Carmel,

IN) and the Artblend Gallery

(Pompano Beach, FL).

Jessica is most proud of being

accepted to the National

Association of Women Artists,

as a regular juried member, in

November 2017. The NAWA

is the oldest women’s fine art

organisation in the country,

founded in 1889 and is considered

a pioneering organisation for

the advancement of women in

the arts. Notable past members

she personally admires include

Mary Cassatt, Berthe Morisot

and Cecilia Beaux. Through the

NAWA her work is archived at

the Zimmerli Art Museum at

Rutgers University and with the

Smithsonian Institution.

DISCOVER MORE

www.jhancockart.com

OMAR HAKIM WITH THE OFFERING PEARL DRUMS

WELCOME RACE FANS

53


MAURICIO VEGA


selected and awarded in different

competitions and biennials such as:

Rufino Tamayo, Diego Rivera,

Alfredo Zalce, Julio Castillo,

National Painting Salons,

INBA, among others. In 2017

he participated in the First

International Biennial of Painting

of Mexico in the Museum of

Contemporary Art of San Luis

Potosí and in 2018 he made

“Umbralia” individual exhibition at

the Cultural Centre of the Hellenic

Community, Embassy of Greece.

Mauricio García Vega

(MAURICIO VEGA) is a painter,

illustrator and graphic designer,

with painting studies at the

AFHA Institute of Plastic Arts in

Barcelona, ​Spain. He is a graduate

of the Free School of Art and

Advertising, Mexico City.

With more than 400 individual

and collective exhibitions in

Mexico, the United States, Cuba,

Argentina, Spain, France, Sweden

and Italy. His work has been

REVELACIONES

JUEGOS DE ARTIFICIO

55


56

GOTIKA


PESADILLA

57


NEZAHUALCÓYTL...UNA VISIÓN

The direct and vigorous impact of a

work that seeks to create multiple

and infinite spaces through new

forms, with a strong expressive load

is implied in the plastic language of

Mauricio Vega.

It is a maze of mirrors where we

find megalithic architectures,

telluric skies, apocalyptic

symphonies of an artist who, like

Orpheus, descends into the abyss;

to that hell that only through

art could be accessed and thus

resurface with new life, which in

him is feeling, is passion.

In his painting we find Piranesi,

Goya, Bacon who support his vision

of the classic, the modern and the

avant-garde.

Mauricio Vega’s work has as a

fundamental premise, that the

value of painting prevails beyond

what it may represent.

He currently explores with

other materials such as clays,

metals and plastics in search of a

three-dimensional language.

museums and private collections

both nationally and internationally.

DISCOVER MORE

www.pintoresmexicanos.com/

mauriciovega

Instagram: @mauriciogarciavega

His work is part of institutions,

ROJO (PRESENCIA)

59


MATTHEW TAYLOR


It was 1997 when Matthew Taylor

cracked open the sizable biography

on Marcel Duchamp his father had

given him to read. Matthew had

grown up in an artistic family, his

mother was a fashion photographer

and his father a painter and

photographer. As Matthew was

about to enter art school the

next year, his father thought an

understanding of Marcel Duchamp

would be the perfect preparation.

Little did Matthew or his father

know what would come next.

The biography, written by Calvin

Tomkins, quickly became not only

Matthew’s Bible, but his “anarchist

cookbook” that completely

rearranged his perspective of the

world. Suddenly there were no

universal truths, no absolutes,

nothing but a drive to adopt every

material, meeting and experience

as something to be molded and

adopted as a creative act. Matthew

entered every assignment with

Duchamp whispering in his ear to

subvert, change, and sometimes -

make something interesting.

While in art school, the turn of

the millennium occurred. There

was optimism, excitement and

a whole new world opening up.

Massive technological and cultural

shifts happened with the rise of

Google and the democratization

of creative tools. For Matthew,

these new technologies opened

up infinite possibilities in the

trajectory of creative thought. He

discovered the art of filmmaking,

but more on his own terms by

taking the camera and adopting it,

similar to how a sculptor shapes his

material. And thanks to Duchamp,

there was no shortage of material

to manipulate.

DIRECTOR DESCENDING THE

STAIRCASE

JEFF KOONS, A VOICE IN MARCEL DUCHAMP: THE ART OF THE POSSIBLE

But Matthew identified something

more interesting. Since he also

had a deep interest in art history

as well as art theory, Matthew

noticed the parallels between

Marcel Duchamp’s formative years

at the turn of his own century and

the turn of the millennium that

Matthew was living through.

Duchamp also witnessed massive

technological changes - including

the discovery of the X- Ray,

photography, cinematography,

non-Euclidean geometry, the 4th

dimension, the deconstruction

of science by Henri Poincare and

the breakthroughs coming out of

Madame Curie’s lab.

These scientific shifts shaped and

influenced the artists of the day,

leading to Cubism, Futurism,

and DADA. Few artists were

more influenced by these radical

changes than Marcel Duchamp,

who appropriated these scientific

changes in his work. Marcel

Duchamp was a quintessential

20th century man who embraced

technology and its impact on the

future.

As a young artist at the beginning

of the 21st century, Matthew felt

a connection to his idol. With

the new century laid out before

him, Matthew saw Duchamp as

an artist of the future, a guide

on interpreting the unknown and

thinking of black swan events

creatively. Matthew decided that

he wanted to make a film about

these ideas.

Years later, after Matthew had

traveled the world, made over

100 shorts films, and worked on

dozens of film projects, he finally

pulled the trigger on creating a film

about Duchamp. In February 2013,

Matthew shot his first interview

with Dalia Judovitz in Atlanta and

a month later moved to New York

City to start the movie.

This effort took five years with

production spanning five countries

and 33 interviews. Matthew talked

with great artists including Jeff

Koons, Marina Abromovic, Ed

Ruscha and Joseph Kosuth as

well as scholars including Michael

Taylor and Francis Naumann and

individuals who knew Duchamp

personally including his step-son

Paul Matisse and Arturo Schwartz,

who made the 1964 edition of

the Readymades. Matthew filmed

Duchamp collections at the Yale

Art Gallery, Philadelphia Museum

of Art, Moderna Museet in

Stockholm, Eskenazi Museum of

Art in Indiana in addition to private

collections.

BEHIND THE SCENES OF MARCEL DUCHAMP:

THE ART OF THE POSSIBLE WITH ARTIST

GERARD MALANGA

61


technology, the film’s third act

opens with David Bowie discussing

the Internet in 1999. In this

interview, Bowie outlines how the

era of the Internet is the ultimate

embodiment of Duchamp’s own

Creative Act Essay. Duchamp

gave viewers the freedom to have

an opinion on art, thus bringing

them directly in to the art making

process.

In early 2019, Matthew’s vision

of a film about Duchamp came

to fruition as Marcel Duchamp:

Art of the Possible was released.

Art of the Possible is a 90-minute

journey through Duchamp’s

thought process, ideas and art.

The film takes the audience on an

odyssey to examine the idea of

an idea and how to liberate and

empower one’s own self as a maker

and creator.

A critical aspect of the film is to

show that Marcel Duchamp is

not an ivory tower philosopher

or an irreverent artist making

A DOCUMENTARY, A MOVEMENT

fun of everything. Rather, he is

a liberator of the individual. The

freedom to think and be was not

only in Duchamp’s work, rather,

his work was the catalyst of his

ideas. Duchamp’s gestures, artwork

and writing make one think and

force viewers to address serious

philosophical questions about the

state of humanity and how and why

we assign value.

Matthew believes Marcel Duchamp

is a 21st century artist that can act

as a guide in our rapidly changing

technological world. Drawing

on his own interest in art and

It is for these reasons that

Matthew set out to make the

film - to re-contextualize

Duchamp for a new generation of

art lovers, Silicon Valley start-ups,

gallery goers as well as everyday

citizens who use Instagram and

YouTube to broadcast themselves.

As we become digital avatars of

ourselves, there is an opportunity

to look back at what Marcel

Duchamp was doing in order to see

the clear horizon going forward.

What appeals to Matthew most

about Duchamp is that his ideas

reach far beyond the borders

of art. Duchamp empowers

any person who chooses to use

their mind and “do” something.

Duchamp eliminates the artificial

hierarchy set by man, and allows

FOUNTAIN, A MOST NOTORIOUS READYMADE

62


anybody “to do” to the best of their

ability, no matter what industry

they work in. Under Duchamp,

everything is available to be used

and adopted and changed. This is a

strong theme that runs through the

Art of the Possible film.

Marcel Duchamp: Art of the

Possible released an abridged

version on ARTE in Germany

and France in June and recently

was screened in Mexico City to

coincide with the Duchamp/Koons

exhibit, bringing this new fresh

perspective on Duchamp to a

global audience. In November the

film will make its North American

premiere at the Hirshhorn

Museum and Sculpture Garden to

accompany the opening of a new

year-long exhibit on Duchamp.

Over 20 years ago, Matthew set

out on a journey into the mind of

the father of conceptualism and

came out the other side a true

believer in the unlimited ability of

freedom in creativity. As Art of

the Possible enters distribution,

Matthew hasn’t stopped working,

already shooting multiple

documentaries, short films, as

well as several fine art and music

projects.

MATTHEW TAYLOR AND JOSE AT THE DUCHAMP/KOONS EXHIBIT AT

MUSEO JUMEX IN MEXICO CITY

“METAMORPHOT”, SHORT FILM BY

MATTHEW TAYLOR

Matthew says of his film “I just

hope people feel as liberated as

I did when I first read that book.

Marcel Duchamp is a guiding

light, if you can think, that’s good

enough.”

DISCOVER MORE

www.matthewtaylorcreative.com

“DROIDICA”, SHORT FILM BY MATTHEW TAYLOR

63


ANNE KARIN SELVIK

KRISTENSEN


My name is Anne Karin Selvik

Kristensen. I live with my husband

in Egersund, we have 3 grown up

children and 10 grandchildren.

After finishing my degree in

physiotherapy I specialised

in paediatrics treatment and

worked full time for 20 years. As

far back as I can remember my

main interest was drawing and I

attended art courses and did self

learning studies as often as time

allowed.

Passing 40 years old I eventually

became a full time student at art

school and the years following I

became a student at a graphic

workshop for 3 years. Eventually I

could afford to have my own studio

with a press to do graphic artworks.

During this time I had several

exhibitions with my art friends in

the district, all with graphic art.

With my close proximity to

children both at work and to my

10 grandchildren, all born within

a period within 12 years, it was

natural that this gradually became

my subject matter. Taking the

little babies to work 3 days a week,

I worked in my studio for the

following days, often having my

grandchildren asking to be a model

or just being around. These years

I have mainly been working with

charcoal and graphic art in all sizes.

I have completed commissions of

children and also many portraits

of my own family. Recently I have

painted all my grandchildren in oil

on panels size 30/40 cm.

FREDRIK, PASTEL

SARA, GRAPHITE

67


What inspires me?

Of course my family and my

young patients. I love their

openness, innocence, spontaneity

and trust and of course their

funny facial expressions. They hide

nothing behind a mask and are

totally themselves all the time.

I also get inspired by all kinds of

portrait artwork, both by visiting

major galleries in Europe and and

by studying art books. I love both

classic figurative art and part of

our modern art. I live in a small

fishing town by the sea with nature

close by and summertime we move

out to live in a cottage only 10

minutes drive from our house. I

get inspired when I’m out at sea

and when I hike along the shore

or in the mountains. During the

summertime I try to spend time

outdoors painting landscapes. I

have attended several plain air

workshops in Europe during the

last 5 years.

I doodle in my sketch book as

often I get a chance, mostly in the

evenings half watching something

on TV. Drawing with a fine liner or

a ball pen. Never knowing what the

result will look like, it is a relaxing

and lovely way to draw.

DOODLES, PILOT PEN

MY DAILY DOODLES, PILOTPEN

68


MY CHILDREN GETTING READY

FOR BED, OIL PAINTING

What is my favourite artwork?

It must be a painting I did years ago

of my three children getting ready

for bed. It is a typical situation

motif and as they now have moved

out and got their own children, it

brings back lovely memories of a

hectic but lovely time.

When I have completed a piece

of art I am mostly done with it.

When it is sold by a gallery I forget

all about it. Apart from that I see

things to correct all the time, if

I have drawings and paintings in

the studio. Having a blank canvas

is a dream, everything is possible!

But quite soon I’m dictated too by

forms, lines and values to make a

composition work.

LOTTA, GRAPHITE

I do learn from criticism of my

work. Of course I received a lot

of criticism at art school, all the

students did. Our teachers mostly

encouraged us to make modern

non figurative art, something that

was of little interest for me at that

time.

My children and my husband love

to make comments about my

artwork, both in a positive and in

a negative way. And thats ok. We

all need an honest response from

others.

This feature is dedicated to the

memory and work of Anne Karin

Selvik Kristensen, who sadly

passed away after writing this.

Anne’s family and Artist Talk have

chosen to print this issue in her

memory.

RUBEN, CHARCOAL

69


70

MOTHER, GRAPHITE


SARA, CHARCOAL

71


VI HOUR

PORTRAIT

CHALLENGE

Famous Portraits A - Z

DISCOVER MORE

www.grantmilne.com

9 772515 658007

10

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