Barry McGlashan
layers and filters to his imagined
About A Girl, 2005, oil on canvas, diptych, 19 × 25". All images courtesy of Magnus Karlsson, Stockholm; David Zwirner, New York; and the artist.
What I learned from Barry McGlashan is how to unfold the fog of romantic Symbolism from his paintings: his paintings seem to originate from a chemical process, and the images still exist after acid washing or being bleached half by the sun. I also learned his painting process consciously. By arranging the base color in advance, I was able to more easily and early determine the base color of the painting, and bring the painting from a reality into my own vision, thereby unleashing my imagination and originality.
Mamma Andersson
memory and architecture
About A Girl, 2005, oil on canvas, diptych, 19 × 25". All images courtesy of Magnus Karlsson, Stockholm; David Zwirner, New York; and the artist.
I am watching Karin Mama Anderson's paintings, which have a sense of formal beauty and remind me of the relationship between memory and architecture. Her works are full of transformations in the interior space - rooms, stages, classrooms, living rooms - yet the interior space depicted, like memory, is always misleading and uncertain. This reminds me of my persistent obsession with the form, how to utilize the difference between memory and illusion, inner and outer, and the form will take on new meanings. But the narrative is open, open, and incomplete.
What left a deep impression on me was that Karin Mama Anderson's stage scenery was similar to my previous architecture. Surprisingly, it matches so well. The entire scene forms a theater space, and how to rearrange it in the later paintings is a very interesting question for me.
Hurvin Anderson
mmigration, citizenship, society
Hurvin Anderson
Peter's Sitters 3, 2009
Oil on canvas
187 x 147 cm
tutorials with Leora Brook
I learned about Hurvin's landscape paintings in Leora Brook, who believes that my works are very similar to Hurvin's works. I went back to watch his videos and picture albums. Although Hurvin draws on the styles of landscape painting, still life painting, and portrait painting, themes such as immigration, citizenship, society, and identity are constantly present. From the nostalgic interior decoration of a black barbershop in Birmingham to the lush scenery of the Jamaican coast. But he created open-ended images,His color saturated canvas lingers between clarity and blurriness.
He said that they are in one place, but thinking about another place, which I think is very interesting, and even many things we are the same, including here I am also an international student. His visual language also blends abstract and concrete elements, emphasizing loose, smooth strokes and compactness.
I can also feel the movement between structured paragraphs in the Hurvin screen. He also used photos to provide a starting point for the intuitive development of painting, in which he had much better control than me.