Sunday 12 December 2010

Juliana Cerquiera Leite

Education
2006–2007 Camberwell College of Art, MA Drawing.
2006–2007 CityLit College, City and Guilds Certificate 7302, Delivering Learning.
2004–2006 Slade School of Fine Art, University College London. MFA Sculpture.
2001–2004 Chelsea College of Art and Design. BA Sculpture.
2000–2001 Chelsea College of Art and Design. Foundation Fine Art.
1999–2000 Fundação Armando Álvarez Penteado, São Paulo. BA Fine Art.

Sculputre/Video/Drawing/Photography/Curation

Up/Down are two sculptural pieces which are made by digging downwards(down)/upwards(up) through  a solid block of clay until the bottom/top were reached.

'Down' is white and is suspended perfectly from the celing with its tip touching the ground. When closer to the pieces you can see that the inital non formative shapes are actually knees and marks created by the artist as she dug through the clay, giving this piece more than a mathematical and visual aesthetic.

The same is done in the piece 'Up' which is painted black in reference to the darkness that the artist encountered whilst creating the piece. 'Up' seems to be less rousing perhaps due to its normative spatial presence beside the suspended 'Down' piece  or perhaps the colour drowns out the contrast and sharpness which is present in 'Down' and it's clarity.

Down: Plaster/Acrylic Polymer/Scrim/Polyester Rigid Foam
              82 in x 27in x 31in
              210cm x 70cm x 80cm

Up: Plaster/Acrylic Polymer/Black Cellulose Paint/Scrim/Polyester Rigid Foam
               82in x 19in x 15in
               210cm x 50cm x 40cm



Sunday 5 December 2010

Antoine D'Gata


-Employed with Magnum Photo Agency

-Studied at the ‘International Centre of Photography’ alongside Nan Goldin and Lenny Clark

-“I don’t see art as a competition or a spectacle but as a privileged space to give radical form to ones perspective on the world”

-Intelligence not cynicism

-“I look at art when it is shouted or vomited not conceptualised or marketed”

-“Intelligence and beauty do not compensate for passivity”

-“What Nan Goldin has taught me is to stand up, against all odds in a political and existential struggle for survival”

-“I try to express in the most precise and arbitrary way, the indefinable and unbearable beauty of keeping alive, physically , mentally and emotionally”

-“Step away from traditional documentary photography methods which I find are very frustrating and hypocritical/ There is a part of cowardice in the usual position of documentary photography in-between voyeurism and safety/ This is where exploitation lies.