Original digital painting of a piano sonata expressing the enchanting sounds of winter.

winter sonata
expressing enchanting sound
contemplates the soul

This is the second painting capturing the beauty of the four seasons. The first was yesterday’s Autumn’s Rhythm. I’ve been dreaming of a new collection that I must paint. Symbols and nature combine to express the stillness, beauty and grace of all that I feel and see through an inner landscape.

– genece hamby, contemporary artist
To purchase Winter Sonata, http://www.shibuistudio.com/wintersonata.html

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The festive season is upon us and the date is set for this years Annual Christmas Sale. On Saturday December 12th, we will gather a great selection of local artists and designers for our one day sale at The Trinity Methodist Church in Kingsland!

There will be an awesome selection of disciplines

We have geared up the gourmet sausage sizzle and coffee van on site – we have collected a really great selection of art + design to stimulate the senses  - We have the pleasure of hosting an array of home backed sweets and treats we know everyone will enjoy – and we are set for a great day!

With eftpos available and free gift wrapping and balloons for the kids we know you won’t leave disappointed. So come on down to The MoAD Annual Christmas Sale.

hi folks!

it’s been a bit since i posted anything, i’ve been distracted by cranberries, mashed potato, cashew ‘cheesecake’, and things like that. but now that it’s black friday, and i don’t want to buy anything, i’m getting ready for the next fun things.

o i am so excited about tomorrow!!!!!!!
the event at HELD is  going to rock! please come see my work and if ya want i will even teach you how to make plastic bags into yarn! OMG!

i hope to see you soon, in between 4 and 7 tomorrow evening, saturday november 28th, 2009, at HELD (3033 NE Alberta, in Portland). it’s going to be so much fun!

ok, i am going to eat things now…

yay!!!!!

ps i am going to move my studio over like 3 spaces, within the same studio warehouse of fabulousness, Switchyard, and i will post updates about that as it happens. so far i’ve just been organizing a little, and packing up small things into the only boxes i have. it’s only like a 20 foot move, but i still need some of that packing magic to happen so it’ll go smoothly.

fun times!

British art: Painting 'Mousehole' by Mike Bernard RI

This painting was delivered to the gallery this week. It features a view of the Cornish harbour and fishing village of Mousehole. Mousehole is a location much favoured by British artists. This contemporary mixed media painting comes from leading British artist Mike Bernard.

Mike Bernard produces highly textured semi-abstract paintings often executed in mixed media incorporating collage and acrylics. Bernard enjoys bringing an experimental approach to his watercolour and oil paintings. Regular subjects include coastal and street scenes in the English West Country and Italy. Speaking about his British Art Mike says: “What attracts me most is the pattern of buildings, boats and similar features in a scene. I build a painting by putting in blocks of colour to develop a pattern which is pleasing to my eye in colours which are harmonious, bringing in feelings of spontaneity, freshness and freedom.”

Red Rag Gallery – Modern Art from British Artists , Irish Artists , Scottish Artists and Limited Edition Prints

Scottish artist: John Kingsley painting 'Cap Ferrat'

Today’s featured Scottish Artist is John Kingsley

Scottish artist John Kingsley was born in Glasgow in 1956. He studied drawing and painting at Glasgow School of Art from 1973-77. His art tutors included James Robertson, David Donaldson and Geoffrey Squire.

John Kingsley has established a reputation as a leading Scottish contemporary artist. He was a finalist in the Hunting Art Prizes competition in London in 1989, 1993 and 1998, and was highly commended in the same competition in 1996. In 1991 Kingsley won the William Bowie Landscape Prize and in 1992 the Mary Armour Award the Paisley Art Institute. Since 1987, John has been an artist member of the council of the Paisley Art Institute.

Today Scottish artist John Kingsley has an international reputation with art works in many public and private art collections across Europe, Australia, Canada and the USA. His paintings are found in the art collections of HRH the Duke of Edinburgh, Argyle and Bute District Council and the Royal College of Physicians and Surgeons, Glasgow.

Red Rag Gallery – Modern Art from British Artists , Irish Artists , Scottish Artists and Limited Edition Prints

Original digital painting of autumn’s rhythm and sounds–the deep tonal quality of the season orchestrated by the cello.

colors fall to ground
notes of stillness bend and sway
blending deep, rich sounds

Autumn’s rhythm adds a deep tonal quality to life. It is richer, stronger and more contemplative. I can listen for hours to the sounds of the season; to the colorful notes falling to the ground and vibrating my heart with gratitude.

– genece hamby, contemporary artist
To purcahse Autumn’s Rhythm http://www.shibuistudio.com/autumnsrhythm.html

arthub | Bhutan an exploration on contemporary art, VAST
By dadou
However, Bhutan has a long history of traditional Buddhist art, which has been recognized in the West by collectors and art galleries, most recently by the exhibition “The Dragon’s Gift: The Sacred Arts of Bhutan”, organized in 2009 by ..

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http://www.artandwork.us/2009/11/the-business-of-artnon-profit-art-practice/

“A DUSKY MOMENT” (QUEENSTOWN)

Oil

355mm x 455mm

COMMISSION

SOLD

This artwork is based on a photo that was supplied to me from my overseas client when visiting Queenstown.  The photo was taken in Queenstown at Dusk.

If you have a photograph that is special to you, and you too would like me to create you an artwork based on your photo you can contact me at  donnasteel1@xtra.co.nz

Sydney-based artist Sam Leach has curated Extropians, a new show at Sullivan & Strumpf Fine Art. The exhibitions brings together a group of artists whose work suggests ambiguous science fictional narratives. Leach spoke to Science Fictional about the ideas and themes behind the title.

What is an “extropian”?

Sam Leach: Extropians are people who believe that progress in science and technology means that humans will soon achieve some kind of immortality. The term derives from extropy – not quite, but almost, the opposite of entropy – it refers to the idea that life and intelligence will expand in an orderly way throughout the universe. The extropian view is sort of an extreme optimism about the future. I’m not totally convinced they are right, but I do like technology and I really like the optimism.

Tony Lloyd, Unique Form of Continuity in Space Time, 2009.
Oil on linen, 23×30cms.

Perhaps you could talk about the selection of works for the show – what were you looking for when you selected the artists and their paintings?

SL: I wanted works which addressed the relationship between humans and technology and I tried to think about that in a broadest sense. So there are paintings which have technology as their subject matter, as with Tony Lloyd and Giles Alexander. There are paintings in which painting itself is represented as a transformative technology as with Stephan Balleux. The show really emerged after seeing some works by Topologies (Donna Kendrigan and Chris Henschke) and, quite soon after, a show by Charles O’Loughlin. Topologies create objects which seem to appeal to a nostalgia for an historical form of futurism – beautifully crafted wood and brass instruments which present quite sophisticated optical illusions with scientific themes. Their works do not unreservedly celebrate science but they do set up a very romantic view of technology. In O’Loughlin’s work data analysis based on his own social interactions is used to generate charts which the form the basis of his abstract paintings. Ultimately he aims to gather enough data to be able to forecast his own life. I could sense some connection between these works and when I came across the extropians it began to fall into place. O’Loughlin’s wildly ambitious plans for his data – not to mention his use of his entire life in the cause of data collection – was related to the scientific heroism hinted at in Topologies’ work. The final piece fell into place with Michael Graeve and Toshiya Tsunoda. In their works technology is already being used to extend perception beyond the limits of “natural” or un-augmented human abilities.

It’s interesting looking at the contrast between the works seen individually and then as a group. Taken individually, the paintings work in a realist mode and might suggest an ambiguous narrative, together they have a very science fictional feel, as though the exhibition works together as an overall narrative – was that your aim?

SL: A proper geek would prefer the term speculative fiction. Yes, I do think the paintings and the especially the piece by Topologies have that feel. I love science fiction so it is probably not a coincidence that the art that appeals to me has some hint of that too. I did try to create the possibility for narrative by including works which hinted at history (Lloyd, Topologies), works which engage the viewer with the present (Graeve, Tsunoda) and works which hint at futures both near and distant (Lloyd again, Balleux, Alexander). Many of the works cover several of those at once, of course, so it is not as though it unfolds like a comic strip. In the best traditions of hard science fiction, multiple realities and timelines co-exist.

The term “speculative fiction” is credited to Robert Heinlein, who liked to call it “spec-fic” – but it seems the term has been subsumed back into the greater generic name “science fiction” – do you see a difference between the two terms? And how does that relate to the show?

SL: The term has drifted in and out of use for quite a while. Fans of this genre do tend to be enthusiastic so there are many thousands of internet pages devoted to discussing the nuances of these terms. For my two cents, I tend to think of speculative fiction as a slightly better description of the genre and a bit broader than than science fiction. Some of the most interesting books do not really go into science at all but look at alternate histories or social structures – Hesse’s Glass Bead Game, Philip K Dick and Neal Stephenson spring to mind. In this show, with one or two exceptions, there is no reference to any actual science. The works deal with the relationship between humans and technology without getting too bogged down in the actual gear mechanisms.

Charles O’Loughlin, September, 2009.
Gouache on paper, 49×45cms.

The imagery of science fiction tends towards a decidedly realist mode of image making – yet you’ve also included abstract works such as Charles O’Loughlin’s mandala-like ‘September’. Was there something in that juxtaposition that interested you?

SL: Absolutely. In the same way that I wanted works which specifically addressed the future, present and past I also wanted to look at artists who used a wide variety of modes in their work. O’Loughlin’s practice verges on performance. His works are really charts which present information, month by month, about who he meets, where and how often. When a painting of a graph is shown, or even several of them, it is really only a tiny fragment of his overall work, which presumably won’t be finished until he is dead or gives up. Or both. The paintings are presented together with books of coded data. Literally thousands of pages of the stuff. They hint at what these apparently abstract paintings represent but they are absolutely no help at all in recovering any kind of meaningful information from the charts. Where the realist paintings have a science fiction feel, O’Loughlin’s work feels closer to the way imagery is actually used in contemporary science – mostly for the graphic display of statistical information (and mostly unintelligible to all but the authors).

Joanna Lamb, High Rise 8, 2009.
Acrylic on canvas, 170×120cms.
From the companion exhibition High Rise.

Joanna Lamb’s latest paintings are also on show at Sullivan & Strumpf and seem like a very natural continuation of what you’re talking about. The title of her show Highriseseems to be a direct reference to J.G. Ballard, whose spirit is very much present in your show too. Was putting the two exhibitions together intentional?

SL: Funny you shoud mention that because I spent the weekend installing a rainwater tank and Ballard was never far from my mind. Sullivan and Strumpf will have to take the credit for bringing the two shows together. It is a really great juxtaposition. Ballard consistently asked questions about the way that technology and especially urban development might impact the human psyche. The extropians themselves seem pretty unconcerned about the possible psychological implications of extreme longevity or technological augmentation of the human. Or perhaps it would be more accurate to say that they are optimistic about the implications. The image of the highrise perfectually captures the moment of transition between utopian vision and dystopian delivery, especially as it is shown in Lamb’s paintings with their idealised clean, hard edges and disturbing acidic colours. Since my show is upstairs from the highrise, maybe it could be thought of as a sort of tech version of the blood garden!

Giles Alexander, 1180 AD, House of God, 2009.
Oil and resin on canvas, 65×105cms.

You’ve often included technological objects in your own painting – how do you see your own work relating to the show?

SL: To be honest the show is a massive indulgence for me. I love the aesthetics of science and technology and to some extent this show could be subtitled “ideas I wish I’d had” or “works I wish I’d made”. The themes of nature and technology are important for me but the relationship between humans and animals is of equal importance. This show allowed me to really get stuck directly into the human/technology relationship via the entertainingly extreme position of the extropians. The other thing is that my own practice is primarily painting – trying to paint well is a very time consuming process and doesn’t leave a lot of room to engage with other modes of artistic production even though I am very interested in them. So it is great to be able to look at the themes and ideas I am interested in using objects, installation and sound works. Even if someone else made them.

Extropians, curated by Sam Leach, and High Rise by Joanna Lamb are at Sullivan & Strumpf, Paddington until December 13.

Contemporary FINE ART Original PAINTING,acrylics on 100% cotton stretched wrapped canvas.Size: 60×80 x1,7 cm.(23,6×31,5 x0,7 in inches)Handpainted.

Original, not print. Painting is signed in front and at the back. Dated.
The sides are painted, so there’s no need to frame it.

I use a gloss varnish to add shine and to protect the painting from harmful UV rays and dust.

I am Member – EBSQ art association .
Each of Nataera’s paintings comes with a COA (Certificate Of Authenticity). The COA lists the title, medium, size, and other useful information. Each painting has an identification number associated with it which also appears on the COA. Finally, the COA is signed and dated by the artist-Nataera. The COA is your assurance that the artwork is a one of a kind original created by Nataera.

Shipping via post-office is 45 $ (7 days to arrive).
I do and i have Shipping insurance for it.
I pack all my paintings with great care.
Tracking number – automatically provided by www.laposte.fr/colissimo
If you should have any questions, please feel free to contact me and I will get back to you promptly.

YOU CAN SEE  MORE  MY PAINTINGS  AND  BUY IT ON ETSY  SHOP:

http://www.etsy.com/view_listing.php?listing_id=35270020

Original digital painting of a woman polishing a heart, shining her inner world.

polishing a heart
mirroring peaceful beauty
from the inside out

Though I am in the autumn year’s of my life, I know that winter is around the corner. My yearnings have become concrete blessings and I quietly polish my heart. I build a bridge from an inner world of silence to become the art.

– genece hamby, contemporary artist
To purchase A Polished Heart, http://www.shibuistudio.com/apolishedheart.html

World

I can’t stop looking at it…just need 890€…

Imagination is not just a composition of thoughts and projections; it is undepictable. The border is not an edge, but the horizon beyond. Politics is where a constant deconstruction of injustice and inequality takes place in society. Micropolitics is not the other face of capitalism, but a permanent becoming-revolutionary. Institutions are not organisations or a mere technology of the arrangement of thoughts, bodies, memories, and discourses. They are also a manifestation of counter-power and places of self-organisation. A university is not an incubator of competition and productivity. It is a place where critical thought is born. New public spaces are not reserves of alternative or interest groups. They are places beyond capitalist urbanisation. 

In times of crisis, the conference focuses on the meaning of the radical. It explores the radical through the notions of micropolitics and transversality. It asks questions: what is the relationship between social movements, institutions, and alternative practices of institutionality; why can new politics emerge only beyond the state, parties, and traditional labor unions; how is the crisis of the university manifested in society; how do new public spaces and their protagonists undermine the prerogatives of capitalist urbanisation; how do art and artistic practices elude the trappings of representation; how is it possible to think about ruptures and utopias today; how can “wanting now” become possible and on what can life beyond capitalism rely? 

PROGRAMME

Saturday, 28 November 

10:00 – 10:30 Welcome: Stojan Pelko, The Ministry of Culture of the Republic of Slovenia; Zdenka Badovinac, Moderna galerija; Gašper Kralj & Bojana Piškur, REC 

10:30 – 12:30

RUPTURES

“Vernacular Revolutions” 

Graciela Carnevale: Radical: “relating to the root, coming or going to the root”

Biljana Kašić:  Does Critical Activism Matter? The Concept of Horizon and the Radical Desire for Transversality

Gašper Kralj: Memory Machines: On Utopia and Solidarity

Darij Zadnikar: Breaking the Form 

Moderator: Francesco Salvini 

12:30 – 13:30 Break 

13:30 – 15:30

IMAGINATION

“Protesting Unconsciousness” 

Jože Barši: Radical: a few thoughts

Elizabeth Lima: Crossing Borders and Inhabiting Margins: Aesthetic Experimentation and Political Participation from the Perspective of Occupational Therapy in Brazil

Micropolitics: The Micropolitics of Work and Desire Today

Bojana Piškur: Imagination beyond Representation 

Moderator: Rodrigo Nunes 

15:30 – 16:00 Break  

16:00 – 18:00

ART INSTITUTIONS

“Expressions of Authentic Interest” 

Zdenka Badovinac: A Museum as a Negotiator between Different Local Knowledges

Marjetica Potrč:  Education as a Catalyst for Change

Khalil Rabah: A Geography: 50 Villages, Riwaq Biennale                       

Jorge Ribalta: Experiments in a New Institutionality 

Moderator: Igor Španjol 
 

Sunday, 29 November 

10:00 – 12:00

CRISIS

“Dissonances” 

Agon Hamza: Towards the Politics outside the State

Universidad Nomada: Instituting Practices in Times of Crisis

Rodrigo Nunes: Towards a Political Economy of Counter-Pimping

Gerald Raunig: In Modulation Mode: Factories of Knowledge 

Moderator: Tjaša Pureber 

12:00 – 13:00 Break 

13:00 – 15:00 

SPACES OF THE COMMON

“Conflicts and Convivencias” 

Barbara Beznec & Andrej Kurnik: New Public Spaces in Crisis

Jasna Koteska: Spaces without Time (From Communist Monuments to Shopping Malls)

Miguel Robles-Durán: Surplus and Centrality: Contemporary Variations of Capitalist Urbanization

Polona Mozetič: Hostels for Migrant Workers and their Possibility for Public Space

Stealth: Struggles for Common Space 

Moderator: Agon Hamza 

15:00 – 15:30 Break 

15:30 – 17:30

EDUCATION

“Heteroglossia” 

Galit Eilat: From Radical Imagination to Radical Movement (Through Field Work)

Renate Höllwart & Nora Sternfeld: Contradictions. Education, Negotiations and Institutions

Taja Kramberger: Effects of Socio-Analysis and Auto-Analysis: A problem of reflexivity in literature and social sciences

Tirdad Zolghadr: Learning Curve 

Moderator: Valeria Graziano 

*** 

Location: MG, Tomšičeva 14, Ljubljana

Language: English

Contacts:

info@mg-lj.si

radeducollective@gmail.com