REFERENCE DRAWINGS FOR MAC USP
Study for St Celfer's 'Space Between Points' (organism)
2017
sumi-e ink on paper
76cm x 56cm
Study for St Celfer's 'Space Between Points' (organism)
2018
sumi-e ink on paper
76cm x 56cm
Study for St Celfer's 'Space Between Points' (celestial)
2017
sumi-e ink on paper
76cm x 56cm
Study for St Celfer's 'Space Between Points' (celestial)
2018
sumi-e ink on paper
76cm x 56cm
Study for St Celfer's 'Space Between Points' (double negative)
2017
sumi-e ink on paper
30cm x 23cm
Study for St Celfer's 'Space Between Points' (negative then positive)
2017
sumi-e ink and acrylic paint on paper
44cm x 34cm
Study for St Celfer's 'Space Between Points' (organism, extra dimension)
2018
sumi-e ink and acrylic paint on paper
76cm x 56cm
Study for St Celfer's 'Space Between Points' (organism, extra dimension)
2019
sumi-e ink, pencil, highlighter, and acrylic paint on paper
76cm x 56cm
Study for St Celfer's 'Space Between Points' (naive)
2017
permanent marker on paper
30cm x 23cm
Study for St Celfer's 'Space Between Points' (organism)
in process/unfinished
sumi-e ink on paper
76cm x 56cm
Study for St Celfer's 'Space Between Points' (organism and celestial)
2017
Copic ink on paper
34cm x 34cm
Study for St Celfer's 'Space Between Points' (organism and decay)
2018
sumi-e ink and acrylic paint on paper
34cm x 44cm
Study for St Celfer's 'Space Between Points' (celestial and decay)
2018
sumi-e ink on paper
34cm x 44cm
"EYEKHAN'S remix of the Rutger's trademark R titled "R HUE"
2009
resizable digital gif
resizable digital gif
THIS IS A DRAFT. Please let me know any sections you wish to publish.
I started my return to an active studio practice by diving into the writings of Malevich who I've always considered an enigma. Many pages later I'm left researching Elena Guro and Mikhail Matyushin, his contemporaries, realizing that this period in Russian history from 1890s to the 1920s was exceptional.
At the end of 2016, I visited the Hermitage, one of the few major museums I have not seen. I was also pleasantly surprised by the collection at the Russian Museum. After St Petersburg I traveled to Moscow in 2017 and the Tretyakov Collection, among others. Did you know that Malevich's Black Square is not exactly that: black or square? After seeing Malevich's masterpiece in person I was most struck by the work of the Ender family (Boris, Maria, Xenia) and then learned of their teachers who were friends of Malevich, Elena Guro and Mikhail Matyushin, the latter a painter and musician, like myself.
I returned to more reading and by sheer coincidence in 2018 I went to Thessaloniki and got to see "Restart" of the Costakis Collection. A return trip to Russia followed in 2019 in order to visit the Museum of Organic Culture in Kolomna which contains the majority of Matyushin and Guro's works and the Matyushin House in St Petersburg.
I'm interested in Guro and Matyushin's basis in nature which was buried by the popularity and strength of Malevich's theories that were more concerned with higher states of being. They practiced an intense study of color, shape, and sound always considered in their context. They also championed the idea of 'ZOR-VED', perception of the essence of things, taking into account the influence of all the senses on each other. An example of one of their practices was the ability to see what is behind your head by facing with your back towards that which you want to draw.
I am interested in the limitations of human perception including investigations from my own personal experience with altered states both self-inflicted (mind altering substances) but also inherited (mental health conditions such as autism and schizophrenia). I believe it's possible to access dimensions beyond the 3rd and accept that we cannot understand everything being just a very small cog in a much bigger machine (and remaining an atheist whole doing so).
Heavily influenced by the Russian Avant Garde and equally exciting, the Brazilian art movements from 1945-1965, until recently, have been internationally overlooked. Both eras were cut off by external factors. (You could argue Abstract Expressionism, the first influence on my artwork, was also snuffed out by the excesses of the art market.). I aim to pick up from where they all left off.
The following three books held the most influence:
Coloured Universe and the Russian Avant-Garde.
By Margareta Tillberg
The Fourth Dimension and Non-Euclidean Geometry in Modern Art
By Linda Dalrymple Henderson
Organica: The Non-Objective World of Nature in the Russian Avant-Garde of the 20th Century
By various, Museum of Organic Culture
My current project, The Space Between Points, has two presentations in São Paulo during 2019.
One is drawings made for the proposal to my solo show which will be shown at the Museu de Arte Contemporânea da Universidade de São Paulo (http://www.mac.usp.br/mac/). Background to the project can be found here http://johnparkerart.blogspot.com/p/for-carmen.html and here https://johnparkerart.blogspot.com/p/for-carmen-drawings-for-mac-usp.html
The other is a solo show at Casagaleria.com.br. Instagram - casagaleria_oficial Facebook: Casagaleria and art workshop Loly Demercian.
There I will dematerialize the wall with the application of marks. In addition, I will create a portal to sonic dimensions beyond the 3rd by directing sound sources into the corners of the space creating through their reflections an aural tesseract. The show combats the tyranny of the square by breaking the frames imposed by power with its false sense of ORDER. It will expose that PROGRESS might not be what we thought it was.
I started my return to an active studio practice by diving into the writings of Malevich who I've always considered an enigma. Many pages later I'm left researching Elena Guro and Mikhail Matyushin, his contemporaries, realizing that this period in Russian history from 1890s to the 1920s was exceptional.
At the end of 2016, I visited the Hermitage, one of the few major museums I have not seen. I was also pleasantly surprised by the collection at the Russian Museum. After St Petersburg I traveled to Moscow in 2017 and the Tretyakov Collection, among others. Did you know that Malevich's Black Square is not exactly that: black or square? After seeing Malevich's masterpiece in person I was most struck by the work of the Ender family (Boris, Maria, Xenia) and then learned of their teachers who were friends of Malevich, Elena Guro and Mikhail Matyushin, the latter a painter and musician, like myself.
I returned to more reading and by sheer coincidence in 2018 I went to Thessaloniki and got to see "Restart" of the Costakis Collection. A return trip to Russia followed in 2019 in order to visit the Museum of Organic Culture in Kolomna which contains the majority of Matyushin and Guro's works and the Matyushin House in St Petersburg.
I'm interested in Guro and Matyushin's basis in nature which was buried by the popularity and strength of Malevich's theories that were more concerned with higher states of being. They practiced an intense study of color, shape, and sound always considered in their context. They also championed the idea of 'ZOR-VED', perception of the essence of things, taking into account the influence of all the senses on each other. An example of one of their practices was the ability to see what is behind your head by facing with your back towards that which you want to draw.
I am interested in the limitations of human perception including investigations from my own personal experience with altered states both self-inflicted (mind altering substances) but also inherited (mental health conditions such as autism and schizophrenia). I believe it's possible to access dimensions beyond the 3rd and accept that we cannot understand everything being just a very small cog in a much bigger machine (and remaining an atheist whole doing so).
Heavily influenced by the Russian Avant Garde and equally exciting, the Brazilian art movements from 1945-1965, until recently, have been internationally overlooked. Both eras were cut off by external factors. (You could argue Abstract Expressionism, the first influence on my artwork, was also snuffed out by the excesses of the art market.). I aim to pick up from where they all left off.
The following three books held the most influence:
Coloured Universe and the Russian Avant-Garde.
By Margareta Tillberg
The Fourth Dimension and Non-Euclidean Geometry in Modern Art
By Linda Dalrymple Henderson
Organica: The Non-Objective World of Nature in the Russian Avant-Garde of the 20th Century
By various, Museum of Organic Culture
My current project, The Space Between Points, has two presentations in São Paulo during 2019.
One is drawings made for the proposal to my solo show which will be shown at the Museu de Arte Contemporânea da Universidade de São Paulo (http://www.mac.usp.br/mac/). Background to the project can be found here http://johnparkerart.blogspot.com/p/for-carmen.html and here https://johnparkerart.blogspot.com/p/for-carmen-drawings-for-mac-usp.html
The other is a solo show at Casagaleria.com.br. Instagram - casagaleria_oficial Facebook: Casagaleria and art workshop Loly Demercian.
There I will dematerialize the wall with the application of marks. In addition, I will create a portal to sonic dimensions beyond the 3rd by directing sound sources into the corners of the space creating through their reflections an aural tesseract. The show combats the tyranny of the square by breaking the frames imposed by power with its false sense of ORDER. It will expose that PROGRESS might not be what we thought it was.