Vernissage: Saturday 25th June, 19:00 - 22:00Opening times: Sunday 26th June, 12:00 - 17:00.
Address: Rote Fabrik, R201 (3. Stock), Seestrasse 395, 8038 Zürich
Hope to see you there!
Chris
Friday, May 27, 2011
Group Art Exhibition at Rote Fabrik, Zurich
All are warmly invited to the vernissage for a group exhibition. In addition to my paintings and drawings, I'll be exhibiting my very first art game and possibly other game-related media.
Vernissage: Saturday 25th June, 19:00 - 22:00
Opening times: Sunday 26th June, 12:00 - 17:00.
Address: Rote Fabrik, R201 (3. Stock), Seestrasse 395, 8038 Zürich
Hope to see you there!
Chris
Vernissage: Saturday 25th June, 19:00 - 22:00Opening times: Sunday 26th June, 12:00 - 17:00.
Address: Rote Fabrik, R201 (3. Stock), Seestrasse 395, 8038 Zürich
Hope to see you there!
Chris
Monday, March 07, 2011
Art Newsletter
Dear Family & Friends,
Welcome to my first ever newsletter. I'll be sending one out 1-2 times per year to keep you updated on news and activity regarding my figurative fine art painting.
I hope you find the information relevant and interesting but please be assured that you're welcome to opt in or out at any time by sending me an email with "unsubscribe" or "subscribe" in the title.
BOOK CONTRACT
2011 has gotten off to a very good start as a result of an article I wrote for an international videogame development website. The article, titled From Ancient Greece To Halo: Art Tradition In Today's Games, deals with a topic that is increasingly becoming my specialisation: the crossover between traditional art and contemporary digital graphics.
It was my luck that an editor at Watson Guptill, the art imprint of Random House Publishing, read my work and contacted me with the offer of extending the article into a full-length book. Without hesitation I accepted the offer, so I'll begin work in April 2011 for an expected publishing date of November 2012.
BP PORTRAIT PAINTING & INVITATION
My submission for last years BP Portrait Award made it to the second round of judging, so I'm hoping for an even better result in 2011. The competition is held annually at London's National Portrait Gallery and is the most prestigious event for portraiture in the world.
My entry for this year (featured centre of the photo below) captures the colour, brushwork and videogame-inspired iconography that I've been searching for some time. You're invited to an informal visit to my studio on Sunday 20th March to take a closer look at the painting before it goes to London for the contest.
Event: Atelier visit
Date: Sunday 20th March 2011
Time: From 14:00 till 17:00
Address: Luegislandstrasse 485, 8051 Zurich, Switzerland map
FUTURE PLANS
In addition to the above mentioned activity, I intend to increasingly dedicate more time to exhibiting my artwork, starting with Kunstszene Zürich. You're welcome to keep up to date on such news via Twitter, Facebook and LinkedIn or by visiting my personal website.
I look forward to hearing from you!
All the best
Chris
Thursday, November 04, 2010
Picasso's, 'Seated Woman'
Discovered a new influence in this painting by Picasso, which is currently hanging at retrospective in Zürich's Kunstahus till 30th January 2011.
The size and simplicity of the forms make a very strong sculptural impression that is lost in the photo below. So a must to see the original.
The size and simplicity of the forms make a very strong sculptural impression that is lost in the photo below. So a must to see the original.
Sunday, October 03, 2010
Wednesday, August 11, 2010
Landscape drawings from San Romerio, Switzerland
Some quick sketches from a recent holiday in the beautiful Posciavo Valley in Switzerland. The buildings are of San Romerio, where I stayed.
Friday, June 04, 2010
Friday, May 14, 2010
Thursday, April 22, 2010
Wednesday, April 14, 2010
Friday, April 02, 2010
Wednesday, February 10, 2010
Anatomy and Classical Sculpture Studies
Studies from Zürich's Archaeology Institute as well as not-so-recent visits to the Bodyworlds exhibition.
Saturday, August 15, 2009
Leaf measuring
I recently watched an interesting BBC documentary, The Story of India.
One of the episodes focussed on King Rajaraja Chola I, who was one of the greatest emperors of the Tamil Chola Empire and India, who ruled between 985 and 1014 CE.
The episode featured a family of bronze casters - S. Devasenapathy Sthapathy Sons - who have been casting traditional statues according to the "lost wax method" for 20 generations, since the days of the Chola Empire. During the tour of the family foundry, one of the members describes how the proportions of statues are measured using a leaf folding system prescribed by Shilpam Shastra.
Shilpam Shastra are traditional Hindu texts that describe the standards for religious Hindu iconography, prescribing e.g. the proportions of a sculptured figure, as well as rules of Hindu architecture. They form one of 64 branches of divinely revealed arts.
I realised that this technique can be very useful for memorising human proportions. I'll upload examples how this is done, shortly.
One of the episodes focussed on King Rajaraja Chola I, who was one of the greatest emperors of the Tamil Chola Empire and India, who ruled between 985 and 1014 CE.
The episode featured a family of bronze casters - S. Devasenapathy Sthapathy Sons - who have been casting traditional statues according to the "lost wax method" for 20 generations, since the days of the Chola Empire. During the tour of the family foundry, one of the members describes how the proportions of statues are measured using a leaf folding system prescribed by Shilpam Shastra.
Shilpam Shastra are traditional Hindu texts that describe the standards for religious Hindu iconography, prescribing e.g. the proportions of a sculptured figure, as well as rules of Hindu architecture. They form one of 64 branches of divinely revealed arts.
I realised that this technique can be very useful for memorising human proportions. I'll upload examples how this is done, shortly.
Sunday, July 12, 2009
Tuesday, June 30, 2009
Interview with Justin Mortimer
- Taken from an interview with Justin Mortimer on ArtSlant.
"It’s completely instinctual. It’s painting by the seat of your pants. As we have talked about in the studio, maybe not now. When I’m composing ideas for pictures I roughly sketch them out on the computer. I scan images, I collect all the data that I have on my hard drive, image databases, from scans of cats, to wedding cakes, limbs, background photographs that I’ve taken on holiday. Through the process of using the computer you can come out with a very realized image very quickly making it a very seductive process. But it’s up to me to translate that to a piece of work from that digital image. I certainly become very seduced by the sort of pseudo realities that can be made in Photoshop. So when I start painting I very quickly see holes and problems in the image and also how banal that image is. It’s up to me to bring something in with the use of paint. As I make the image, the painting starts to dictate the image so I move away from the initial source that I made on the computer. In fact, I often make the image on the computer, begin the painting, see the problems or the good things, and go back to the computer to redraft that image, scale it up, and reimpose that onto the image again. So my pictures are quite fragmented looking because it’s often a combination of six different images all part of the same thing. I’m constantly looking for those serendipitous clashes with the first layer doing something interesting with the top layer. It dictates itself, it has its own volition, which is a completely different process from when you are working on the computer."
"It’s completely instinctual. It’s painting by the seat of your pants. As we have talked about in the studio, maybe not now. When I’m composing ideas for pictures I roughly sketch them out on the computer. I scan images, I collect all the data that I have on my hard drive, image databases, from scans of cats, to wedding cakes, limbs, background photographs that I’ve taken on holiday. Through the process of using the computer you can come out with a very realized image very quickly making it a very seductive process. But it’s up to me to translate that to a piece of work from that digital image. I certainly become very seduced by the sort of pseudo realities that can be made in Photoshop. So when I start painting I very quickly see holes and problems in the image and also how banal that image is. It’s up to me to bring something in with the use of paint. As I make the image, the painting starts to dictate the image so I move away from the initial source that I made on the computer. In fact, I often make the image on the computer, begin the painting, see the problems or the good things, and go back to the computer to redraft that image, scale it up, and reimpose that onto the image again. So my pictures are quite fragmented looking because it’s often a combination of six different images all part of the same thing. I’m constantly looking for those serendipitous clashes with the first layer doing something interesting with the top layer. It dictates itself, it has its own volition, which is a completely different process from when you are working on the computer."
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