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sometimes even distractions become futile. 

I’m in the Art Collector Issue 70 (Oct - Dec) out now.
Pick one up and check it out. 


AND THEN IT KIND OF HAPPENED 2014acrylic and oil on canvas120 x 90 cm

AND THEN IT KIND OF HAPPENED
 
2014
acrylic and oil on canvas
120 x 90 cm

I tend to gravitate towards uncensored fantasy but when one can transform the everyday into something totally dark and otherworldly, — I think that where the real smarts at. 

I just watched Dogtooth (2009). Genius. 

Common questions raised. The rise and falls. To exploit or withhold. Etc.

Can the power to create be as unsettling as the power to destroy? By inverting or parodying Decadent sensibility, we’re able to see the ways in which writing with a focus on the sensuous can simultaneously ground us in our human experience and also put forth the question of what it actually means to experience something as a human. Are these carnal delights so many acts of transgression against established mores, a trap that pulls us down into our allegedly baser animal instincts, or a way of freeing ourselves from the trappings of human society, a kind of backdoor out of a social contract we didn’t necessarily sign? One eventually returns from the heights of ecstasy, an inevitable failure that constitutes perhaps the only truth available.” 

— Of Tutus and Tortures: Thoughts on the Decadent and the Weird by 

 

The romanticism of suicide is something that has long intrigued me. To manifest beauty out of something so personal and dark that has also become so normalised which indeed, makes it even darker. The context of a wrongful act, a rightful act. Rational, irrational. The pre-acts of suicide/attempted suicide, the wondering, preparing, lingering. The text and poetries, mostly Sexton and Pessoa. Not so much a question of why but rather pondering its existence. It all ends with the root of human nature. 

“a commonly held attitude that romanticizes suicide from the Golden Gate Bridge in such terms as aesthetically pleasing and beautiful, while regarding a Bay Bridge suicide as tacky.”

— Jumpers by Tad Friend from The New Yorker, 2003

fuzzy

a—n—f:

Things I read don´t stay with me as facts anymore. I have longsince trained my brain to forget the numbers, dates and statistics instantly. What remains is a fuzzy feeling that knowledge and insight was gained, progress has been made. But if you ask me 2 hours later, I´ll be hard-pressed to come up with more than a basic summary of what information I consumed.

The Yellow Figure

It oozed some form of yellow discharge, no, not the yellow of the sunny variety but the yellow that colours pus, the yellow that stains when things have been soiled, the yellow from the old wallpaper—all but indeed concentrated. The yellow you know of that is dirty and caustic. 

When it walks, each heavy step sends a pulse through its body and pushes its meat to press against its salivary skin. It stretches and pushes it to ooze, to exude from its pores. It drips. And as it walks on top of its own biological residue, smearing it along the floors, it leaves a glossy trail of where it has been. It left not only its mark but its smell. A sweaty, sharp but sweet smell that caused your nostrils to flare and then contract and repeal. The odour of perversion and sin. 

———

I was walking on Burchin Street near that convenient store that never closed when the smell hint my nose. I covered my nose quickly but then it enter my mouth. I could taste the saccharine rot and choked. I threw up. I took a moment and turned to my right. There in the dark ally laid a puddle of yellow. Yes, that yellow. Holding my breath, I walked towards it and entered the darkness.

‘What are we all still living for? We’re damned! If I fell ill now, there isn’t a soul would bother about me.’ An all-pervading fear crept over me. ‘I don’t want to die, I don’t want to die!’ At a complete loss, I put my head in my hands. ‘The pinnacle of creation!’ – It was my despair speaking. – ‘Two legs, tubes of bone, bear my whole world, a world of pain and delusion. The worst part is the body.’ The fear of death sent a shudder through me. ‘What lies in store for my body? All its thousand organs, into what cunning instruments of torture will they be transformed? Oh, if only I could stop thinking, but that functions automatically. There are no certainties that are not countered by uncertainties! It’s an endless labyrinth, and I’m damned! My belly is filled with ordure and disgust, and whenever I do manage to feel something passionately I immediately lose my nerve. There is just one thing I do know: however much I wriggle and squirm, minute by minute I am coming closer to the inevitable, closer to death, and there is nothing I can do about it. I haven’t even the courage to kill myself. Lasting unhappiness is my destiny.’ I sighed.
— An except on the wonderings of dying from The Other Side, 1908 by Alfred Kubin
lafilleblanc:

Gerhard Richter
Study for ‘4 Glass Panes’ (CR 160), 1966

lafilleblanc:

Gerhard Richter

Study for ‘4 Glass Panes’ (CR 160), 1966

(via gregoutthere)

Exploration by Bruno Coulais

Helene Schmitz’s photographs of Alabama trees covered in the leafy vine Kudzu. 

“Strange Plants”

(via mytemporaryhead)

NO WERK Curated by Ace WagstaffTrocadero Art Space3 - 20 September
Photo by Leana Kim
More info

NO WERK 
Curated by Ace Wagstaff
Trocadero Art Space

3 - 20 September


Photo by Leana Kim


More info

Doubt has a terrible voice and just really shouldn’t sing. 

NO WERK Curated by Ace Wagstaff3 - 20 September
Featuring the images of work (sourced from the artists with permission) by:A Constructed World (Geoff Lowe and Jacqueline Riva), Kate Carey Peters, Tim Andrew, Louise Zhang, Terrence Combos, Peter Aitkens, Michael Prior, Kate Tucker, Nabilah Nordin, Joanna Anderson, Bill Noonan, Louise Blyton, Lila Afiouni, Lois Hopwood, Rachel Schenberg, Yoek, Leanna Kim, Yvette Coppersmith, Adrian Stojkovich, Nicholas Ives, Jordan Marani and Lucy James.and featuring the images of work (sourced from the internet without permission) by:Richard Prince, Sean Bailey, Matthew Collings, Tom Polo, Joseph Mallord William Turner, Ivor Lovheim, Claudia Dance-Wells and Josef Zachary Shanley Jackson, Ciarrai MacCormac, Jessica Simorte, Antonio del Pollaiolo, Grant Nimmo, and Stanley Kubrick.Click here for more information.
Trocadero Art SpaceSuite 1Lvl 1/119 Hopkins St Footscray VIC 3011, AUOpeningSaturday 6 September 4 - 6pmGallery hoursWednesday - Saturday 12 - 5pm

NO WERK
Curated by Ace Wagstaff
3 - 20 September

Featuring the images of work (sourced from the artists with permission) by:
A Constructed World (Geoff Lowe and Jacqueline Riva), Kate Carey Peters, Tim Andrew, Louise Zhang, Terrence Combos, Peter Aitkens, Michael Prior, Kate Tucker, Nabilah Nordin, Joanna Anderson, Bill Noonan, Louise Blyton, Lila Afiouni, Lois Hopwood, Rachel Schenberg, Yoek, Leanna Kim, Yvette Coppersmith, Adrian Stojkovich, Nicholas Ives, Jordan Marani and Lucy James.

and featuring the images of work (sourced from the internet without permission) by:
Richard Prince, Sean Bailey, Matthew Collings, Tom Polo, Joseph Mallord William Turner, Ivor Lovheim, Claudia Dance-Wells and Josef Zachary Shanley Jackson, Ciarrai MacCormac, Jessica Simorte, Antonio del Pollaiolo, Grant Nimmo, and Stanley Kubrick.

Click here for more information.

Trocadero Art Space
Suite 1
Lvl 1/119 Hopkins St 
Footscray VIC 3011, AU

Opening
Saturday 6 September 4 - 6pm
Gallery hours
Wednesday - Saturday 12 - 5pm

THEME BY PARTI