-the composition looks like a film
-strong pencil line.
-construction of comic.
-which scene is picked up?
American, born 1954
Cindy Sherman established her reputation—and a novel brand of uncanny self-portraiture—with her “Untitled Film Stills” (1977-80), a series of 69 photographs of the artist herself enacting female clichés of 20th-century pop culture. Though her work continually re-examines women’s roles in history and contemporary society, Sherman resists the notion that her photographs have an explicit narrative or message, leaving them untitled and largely open to interpretation. “I didn’t think of what I was doing as political,” she once said. “To me it was a way to make the best out of what I liked to do privately, which was to dress up.” Always in meticulous costumes, wigs, and makeup, Sherman has produced series in which she dresses as women from history paintings, fashion, and pornography. In the late 1980s and into the ’90s, she expanded her focus to more grotesque imagery, like the mutilated mannequins of her “Sex Pictures” (1992).
Because there are a lot of objects,especially the effect of mirror,on the background,people can imagine some story.
When people see "real" and "unreal" at the same time, they start making some story in own head.
People in his paints have a sorrowful atmosphere.It might be one of reason to attract people.my eye's are focused on people. I like his way to use space. because of his composition, people can feel that we are peeking into the scene as a third person.
OSAMU TEZUKA(1928 – 1989)
a manga author and creator of many of the first Japanese animation.
ERIC STANTON(September 30, 1926 – March 17, 1999; born Ernest Stanzoni)an American bondage and fetish illustrator, cartoonist, and comic-book artist. The majority of his work depicted female dominance scenarios.
When I did the drawing workshop with watching the film "39 Steps", I was interested in their composition and colour(shading) especially. And then I wanted to try to draw each frame and investigate them more.
I chose some films that are directed by Yasujiro Ozu.
He calculated composition, angle and colour strictly to make perfect the scene.
LATE AUTUMN trailar
LATE AUTUMN (1960)
THE FLAVOUR OF GTRRN TEA OVER RICE (1952)
just changing scenes without people for several seconds.
ROSEMARY'S BABY (1968)
By ROMAN POLANSKI
ROSEMARY BABY (1968)
think about the angle.
reflecting the figure and showing the figure through the object.
By RAYMOND BRIGGS
b. 1988, Paris, France
My process finds its roots in my daily practice of drawing and writing. Those notes I am taking help me gather and process information, whether it being a pattern I liked to a conversation I overheard, or to an idea I had for a comics scenario, etc. They inform the rest of my creative process, fundamentally but also formally. To use an architectural metaphor, I really do consider them to be the skeletal structure of what I am building.
Theme wise, my work is a comment on human relationships and on how we deal with essential and existentialist subjects such as love and death in our everyday life. I essentially tend to depict women but the point of view I am drawing from isn’t usually clearly gendered, my ‘voice’ can be in turn masculine and in turn feminine. I am by no means trying to give a moral opinion of mine through my pieces but rather wanting to share my observations about human beings and their social interactions.
Formally, my pieces tend to take very different shapes, from various types of editions (from comics to artist books) to different sorts of installations (from series of drawing on plaster installed on the floor to oil paintings onto dustsheets). I would like to stress that although the main part of my practice revolves around the development of experimental figurative ways of narration, some of my pieces can be sometimes, within that frame, purely abstract – like for instance a series of lithographic monoprints on japanese paper I made about caves or a series of textile patterns and clothing pieces I designed.
My creative process tends to be very organic and intuitive; it is very rare for me to know precisely where I am heading at the beginning of a research period. The idea of the form slowly merges and shapes as I go along. I usually start with focusing on one element that becomes obsessive – it can be as simple as a recurrent pattern or a sentence or an image – to which I associate other images or texts. And it is this collage that allows a narration of some sort to develop. I believe it is a similar process involved in the action of collecting, the only difference in my work being that instead of selecting already existing objects, I produce all of them. In this regard, I like comparing my production to some kind of archaeological investigation, when you keep digging the ground unsure of what you’re about to find, yet with a slight idea of what might be buried there. The more and more clues of the final piece emerge as the work progresses. This principle is very close to poetry making and reminds me of the ‘Correspondance’ system Baudelaire proposes in which something can be seen through a new light when associated to something unexpected.
As various as the nature of my work, my influences range from painters, such as David Hockney, Tal R or Philip Guston, to comics drawers, such as Blutch, Glenn Baxter, Daniel Clowes or Chas Addams, to writers, such as Marguerite Duras or Moravia, to cinéastes, such as Antonioni or Buñuel, to installation artists, such as Tauba Auerbach or Thomas Hirschorn, to fashion designers, such as Dolce & Gabbana or Phoebe Philo for Céline
Be young, be wild, be desperate is an installation piece composed of 60 drawings (pencil colours on paper). Each one of them can be looked at separately, as an independent entity, but, as an ensemble, they start constructing a broken fiction, depicting the story of a love, from its beginning – when life seems so bright, the sun shines and yet, you, still doubting such a happiness can be true – to its end – when the breaking up is nothing but a bloody mess. They appear to be the remaining fragments of a bigger story (stories) that we can’t envision completely. Those snatches are for me a very close depiction of how I feel we can grasp reality, never fully, mostly through the memories we keep of already past events that relentlessly escape and keep transforming. The experimental narrative form of this sequence wants to mirror this feeling of unsettlement and uncertainty. This series specifically has a real and obvious taste of comics, notably because there is, although quite loose and experimental, a narrative order to it and because of the key relationship between the texts and the drawings.
I saw her works at ICA exhibition.
I was interesterd in her composition and colour scheme with coloured pencil.
Some symbol are hidden in them.
|Francis Picabia is born in Paris, January 22, 1879, 82 rue des Petits Champs, the same house where he dies, November 30, 1953. During the seventy four intervening years, Picabia explores most of the artistic movements of his time, a feat as exceptional as the epoch itself. His childhood is as materially comfortable as it is emotionally troubled. “Between my head and my hand,” he says in 1922, “there is always the figure of death.” As a child, he is l'enfant terrible, later he becomes the perfect rastaquouère, the Joker or flashy adventurer, which is the public side of his complex personality.|
Think about the effect of laying two more images on the same point. Now and Past....