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I quite like this work from my Framing. I try to created the idea from Franz Ackermann and Le Corbusier. I’m looking at Ackermann for colours designer and Corbusier for proportion.

This is my interior work.The subject matter is to created the geometric shape,break it down to many different size and add the colours to be the highlight of the work. I used the cardboard and the colour paper ,stuck them together to made it stronger to standing.I usually taken the colours from Ackerman ( red,blue,yellow,orange)

because this all colour is warm and stand out. And the shape from Corbusier building (chaple). I’m select the part of the window from the building to made my interior building . Shape of squar to be a sit floor that a bit level up from the ground.But I’m not add the colour on it beacause i want it to build up from concrete that why i use another kind of cardboard and colour.I design to use the rectangel shape to be a wall ,a roof because i thought it easy to conected to the another building .The roof was three colour that made more interesting when you looking at but there only can see when you standing under the building.


This work is from the them representing the place you call Home. I’m chose to present the country  where I’m from that is Thailand.Then i have to research what is it make my neighborhood unique in comparison to other,and present this piece of graphic design that can applies to an article of clothing. The way that I were present is  design it on the T-shirt ,white is the colour that I try to design it on . I used the word Thailand by hand writing and the image to support the text.I using the motorbike to present Bangkok (Thailand) because when anyone thinking of Bang kok city is busy, alot of vehicel, the most popular vehicle is motorbike. And esay to travel around Bangkok.








This is Graphic Design work as well. It is kind of the old style of Taxi in Thailand and still on the road utill now.

Twisted Word (Interior)

This is my twisted word work .The suject matter is colour and again geomatric shape. I use the squre shape the make the created the wall paper.The idea that I get to do the work is from the book call FRAME is interior work

I have explored a wide range of interior wall design ideas by combining spatial geometric porportions with colours surfaces.I chose this work to pressent because this can show of my completed design successfully communicate the interior plush the wall paper and design indicates a sensibility for controlling the inhanbitants to move freely though the courtyard when entering building 076,while at the same time allowing for small groups of people to cluster in more shetered, also can see the lovely wall paper,reflecti ve speaces as they enter the building.




World English Dictionary
colour or ( US ) color (ˈkʌlə)
1. a.an attribute of things that results from the light they reflect, transmit, or emit in so far as this light causes a visual sensation that depends on its wavelengths
b.the aspect of visual perception by which an observer recognizes this attribute
c.the quality of the light producing this aspect of visual perception
d. ( as modifier ): colour vision
2. Also called: chromatic colour
a.a colour, such as red or green, that possesses hue, as opposed to achromatic colours such as white or black
b.Compare black-and-white ( as modifier ): a colour television ; a colour film
3. a substance, such as a dye, pigment, or paint, that imparts colour to something
4. a.the skin complexion of a person, esp as determined by his race
b. ( as modifier ): colour prejudice ; colour problem
5. the use of all the hues in painting as distinct from composition, form, and light and shade
6. the quantity and quality of ink used in a printing process
7. the distinctive tone of a musical sound; timbre
8. vividness, authenticity, or individuality: period colour
9. semblance or pretext (esp in the phrases take on a different colour, under colour of )
10. ( US ) a precious mineral particle, esp gold, found in auriferous gravel
11. physics one of three characteristics of quarks, designated red, blue, or green, but having no relationship with the physical sensation
vb (often foll by up )
12. to give or apply colour to (something)
13. ( tr ) to give a convincing or plausible appearance to (something, esp to that which is spoken or recounted): to colour an alibi
14. ( tr ) to influence or distort (something, esp a report or opinion): anger coloured her judgment
15. to become red in the face, esp when embarrassed or annoyed
16. ( intr ) (esp of ripening fruit) to change hue
[C13: from Old French colour from Latin color tint, hue]
color or ( US ) color
[C13: from Old French colour from Latin color tint, hue]

Collins English Dictionary – Complete & Unabridged 10th Edition
2009 © William Collins Sons & Co. Ltd. 1979, 1986 © HarperCollins
Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009
Cite This Source

Word Origin & History


early 13c., from O.Fr. colur , from L. color  (acc. colorem ) “color, hue,” from Old L. colos,  originally “a covering” (akin to celare  “to hide, conceal”), from PIE base *kel-  “to cover, conceal” (see cell). O.E. words for “color” were hiw, bleo . The verb is from c.1300, earliest use is figurative.

See color.
Online Etymology Dictionary, © 2010 Douglas Harper
Cite This Source
Medical Dictionary


–noun 1. a border or case for enclosing a picture, mirror, etc.

2. a rigid structure formed of relatively slender pieces, joined so as to surround sizable empty spaces or nonstructural panels, and generally used as a major support in building or engineering works, machinery, furniture, etc.

3. a body, esp. a human body, with reference to its size or build; physique: He has a large frame.4. a structure for admitting or enclosing something: a window frame.5. Usually, frames. ( used with a plural verb ) the framework for a pair of eyeglasses.6. form, constitution, or structure in general; system; order.7. a particular state, as of the mind: an unhappy frame of mind.8. Movies . one of the successive pictures on a strip of film.9. Television . a single traversal by the electron beam of all the scanning lines on a television screen. In the U.S. this is a total of 525 lines traversed in 1 / 30 second. Compare field ( def. 19 ) .10. Computers . the information or image on a screen or monitor at any one time.11. Bowling . a. one of the ten divisions of a game.b.one of the squares on the scorecard, in which the score for a given frame is recorded.12. Pool . rack1 ( def. 3 ) .13.

Baseball . an inning.

14. Slang . a frame-up.15.

enclosing lines, usually forming a square or rectangle, to set off printed matter in a newspaper, magazine, or the like; a box.

16. the structural unit that supports the chassis of an automobile.17.

Nautical . a. any of a number of transverse, riblike members for supporting and stiffening the shell of each side of a hull.

b. any of a number of longitudinal members running between web frames to support and stiffen the shell plating of a metal hull.18.

a machine or part of a machine supported by a framework, esp. as used in textile production: drawing frame; spinning frame.

19. Printing . the workbench of a compositor, consisting of a cabinet, cupboards, bins, and drawers, and having flat and sloping work surfaces on top.20.

Bookbinding . an ornamental border, similar to a picture frame, stamped on the front cover of some books.

21. in frame, Shipbuilding . (of a hull) with all frames erected and ready for planking or plating.

–verb (used with object) 22.
to form or make, as by fitting and uniting parts together; construct.

23. to contrive, devise, or compose, as a plan, law, or poem: to frame a new constitution.24.

to conceive or imagine, as an idea.

25. Informal . to incriminate (an innocent person) through the use of false evidence, information, etc.26.

to provide with or put into a frame, as a picture.

27. to give utterance to: Astonished, I attempted to frame adequate words of protest.28.

to form or seem to form (speech) with the lips, as if enunciating carefully.

29. to fashion or shape: to frame a bust from marble.30.

to shape or adapt to a particular purpose: to frame a reading list for ninth graders.

31. Informal . to contrive or prearrange fraudulently or falsely, as in a scheme or contest.32.

to adjust (film) in a motion-picture projector so as to secure exact correspondence of the outlines of the frame and aperture.

33. to line up visually in a viewfinder or sight.34.

Archaic . to direct, as one’s steps.
–verb (used without object) 35.
Archaic . to betake oneself; resort.

36. Archaic . to prepare, attempt, give promise, or manage to do something.

bef. 1000; 1910–15 for def. 8; 1920–25 for def. 25;  (v.) ME framen  to prepare (timber), OE framian  to avail, profit; c. ON frama  to further, OHG ( gi ) framōn  to do; (n.) ME, deriv. of the v.

—Related forms

fram·a·ble, frame·a·ble, adjective
fram·a·ble·ness, frame·a·ble·ness, noun
frameless, adjective
framer, noun
de·frame, verb (used with object), -framed, -fram·ing.
mis·frame, verb, -framed, -fram·ing.
re·frame, verb (used with object), -framed, -fram·ing.
subframe, noun
un·fram·a·ble, adjective
un·fram·a·ble·ness, noun
un·fram·a·b·ly, adverb
un·frame·a·ble, adjective
un·frame·a·ble·ness, noun
un·frame·a·b·ly, adverb
un·framed, adjective
well-framed, adjective
Dictionary.com Unabridged
Based on the Random House Dictionary, © Random House, Inc. 2010.
Cite This Source


Kandinsky, Wassily

Kandinsky, himself an accomplished musician, once saidColor is the keyboard, the eyes are the harmonies, the soul is thepiano with many strings. The artist is the hand that plays, touchingone key or another, to cause vibrations in the soul.The concept that color and musical harmony are linked has a long history,intriguing scientists such as Sir Isaac Newton. Kandinsky used colorin a highly theoretical way associating tone with timbre (the sound’scharacter), hue with pitch, and saturation with the volume of sound.He even claimed that when he saw color he heard music.
© 31 Jul 2002,Nicolas Pioch
Thanks to the BMW Foundation, the WebMuseummirrors,partners and contributorsfor their support.



Title:Wassily Kandinsky, 1866-1944 The journey to abstration

  • Publisher: Koln Benedikt Taschen
  • Date: c1994
  • Author:Ulrike Becks-Malorny
  • Subjects:Kandinsky, Wassily, 1866-1944 ; Painters — Soviet Union ; Painting, Abstract ; Painting, Modern — 20th century — Soviet Union
  • Type: Book
  • Format: 199 p. ill 30 cm.
  • Language: English
  • ISBN/ISSN: 9783822890455 ; 3822890456
  • Title: Wassily Kandinsky, 1866-1944 The journey to abstration

  • Publisher: Koln Benedikt Taschen
  • Date: c1994
  • Author:Ulrike Becks-Malorny
  • Subjects:Kandinsky, Wassily, 1866-1944 ; Painters — Soviet Union ; Painting, Abstract ; Painting, Modern — 20th century — Soviet Union
  • Type: Book
  • Format: 199 p. ill 30 cm.
  • Language: English
  • ISBN/ISSN: 9783822890455 ; 3822890456
  • (Book)

    Frame #61 Mar/Apr 2008

    Permeating the interiors in this issue is a constant intermingling of nonfiction – material, form and colour – and fiction – story or effect. There is an update on Tokujin Yoshioka’s work, a university building by Steven Holl, five restaurants and four shops.


    The relevance of these sites I have posted above is that for my interior design project I decided on Twisted World  project and what I have posted above is related to interior wall and also related to who I was inspired by, Kandinsky and Jan Stark  inspired me a lot in this project .The colour and shapes of this two artists is make me thinking of how could I combine this two together.Then I be successful by select the colour from Jan Stark and shapes from Kandinsky to make my interior ,well come out by the beautiful colours and nice shape on the wall .



    Kandinsky is the one of my favolate artist for colourful and shapes used.I using the same  idea as Kandinsky to created my work by using the geometric and some colours from him.

    Kandinsky, Wassily, Russian in full VASILY VASILYEVICH KANDINSKY(b. Dec. 4 [Dec. 16, New Style], 1866, Moscow, Russia–d. Dec. 13,1944, Neuilly-sur-Seine, Fr.), Russian-born artist, one of the firstcreators of pure ab straction in modern painting. After successfulavant-garde exhibitions, he founded the influential Munich group DerBlaue Reiter(The Blue Rider; 1911-14)and began completely abstractpainting. His forms evolved from fluid and organic to geometric and,finally, to pictographic ( e.g., Tempered Élan, 1944).

    Kandinsky, himself an accomplished musician, once saidColor is the keyboard, the eyes are the harmonies, the soul is thepiano with many strings. The artist is the hand that plays, touchingone key or another, to cause vibrations in the soul.The concept that color and musical harmony are linked has a long history,intriguing scientists such as Sir Isaac Newton. Kandinsky used colorin a highly theoretical way associating tone with timbre (the sound’scharacter), hue with pitch, and saturation with the volume of sound.He even claimed that when he saw color he heard music.

    Wassily Kandinsky

    Wassily Kandinsky (1866-1944)
    Transverse Line,
    1923 ,141 x 202 cm, Oil on

    On Points — Wassily Kandinsky


    Circles in a Circle – Wassily Kandinsky





    This is Franz Ackermann work. You can see form here all the at work form him is colourful also you can see from my work that i selected the colour from his to created my work. I’m interested in colours that his were used.

    The Secret Tunnel, 1999,Oil on Canvas, 260 x 200cm

    Ackermann’s cityscape is information overload: a seething metropolis striated in Technicolor glory. Grey modernist architecture looms at an unnatural angle, engulfed in retro-style smog, while an inverted stairway to heaven descends into the open earth below. Ackermann paints his underworld as a spacey utopia: fiery blobs of magma swell with hypnotic seduction, revealing a virgin landscape at their core.The Secret Tunnel
    is not a paradise, but an upper and middle earth equally and oppositely attractive.

    Mental Map: Evasion VI,1996,Acylic on Canvas,195 x 210cm

    Evasion VI is less a representation of a specific place than an eruption of global confusion. Wild blasts of colour rip tangled organic masses apart. Amid the wreckage are tiny vignettes of landscape displaced from their natural setting. Ackermann’s painting has an undertone of catastrophe: desert sunsets, rocky coves, and industrial parks clash together like tectonic plates in an ethical snafu. Through his unbridled abstraction, Ackermann strives to chart out the physical impossibility of conceptual space. Evasion VI reconstructs our chaotic perception of the world as an apocalyptic image-byte.

    Mental Map: Evasion V,1996,Acylic on Canvas 275/350cm

    In Mental Map: Evasion V, Ackermann creates a biotic abstraction, a template for natural phenomena dictated by design. His jumbled composition is harmonious in its turmoil: concentric patterns of colour expose hints of identifiable place (a street map, a building interior, a snippet of landscape) only to dislocate them in a maze of organic generalisations.

    Constructed graphics are corroded, integrated as if by evolution, to incorporate somatic qualities: sublime contemplation is achieved only through artificial enhancement.


    is Le Corbusier was a professional architect, who was quite capable of designing structures that people could use. Like this chapel.When i first saw this i very like the shape of the building . I also get the idea from the shape of the window and try to made of my own work.

    Le Corbusier, a staunch atheist, at first had refused to accept the commission to rebuild the chapel, destroyed during World War II. But a visit to the site and the promise of total artistic freedom in designing the building ultimately convinced him.







    Jan Stark

    This was so amazing work that i have seen by the colour,contrast,arange of the layering .She is the one of the artists that I looking to. I very the colour that she use ,it warm also look strong by the layering .

    Sunken Sediment

    Spectral Zenith

    Speed of Light

    Flash Spectrum

    Florida International Magazine

    September 10th, 2010

    Check out a 2-page interview Omar Sommereyns wrote about my work for FLORIDA International Magazine. Click image to enlarge and read:

    Florida International Magazine / August 2010 / Vol. 13  No. 8

    LivingProof Magazine

    August 15th, 2010

    Dan Christiansen wrote a really nice interview on me and my work in LivingProof Magazine issue #5. Miami friend and artist Jim Drain is in the issue as well. Take a look! (click to enlarge and read)

    PERFORMANCE: Ohwowies, The Magical Goat and Triplet

    August 15th, 2010

    During the DADARHEA Show at O.H.W.O.W. on Friday August 13th,  Alvaro Ilizarbe (AKA Freegums), Sam Borkson (FriendsWithYou) and I created 3 magical creatures and did a live performance during the opening. We blew poppers, feathers, and glitter out of our costumes and pranced around ringing bells. Here are a few photos.

    Alvaro Ilizarbe (left), Jen Stark (center) and Sam Borkson (right)

    (bottom 2 photos by Justin Namon/WorldRedEye.com)

    New American Paintings #88

    August 6th, 2010

    Check out my work in New American Paintings #88.  Evan J. Garcia did a nice writeup in the “Spotlight” section of it.

    “DADARHEA” at O.H.W.O.W in Miami

    August 1st, 2010

    If you’re in Miami on Friday, August 13 come check out a wild opening of a group show I’m in at O.H.W.O.W.
    Opening reception Friday, August 13, 2010 8pm.
    August 13 – August 31, 2010
    3100 NW 7 Avenue / Miami / Florida / 33127
    Welcome to DADARHEA. An idea born from an absurd dream involving pee filled supersoakers and deep fried laptops. It’s a dadaist pizzeria. It’s idea-rhea. It’s the video art equivalent to fantasy island – where Devin Flynn is the Mr. Roarke to Jim Drain’s tattoo. Dadarhea is freeform video workshop with a group of guest artists who pride themselves on confounding their audiences, allowing them to employ animation, live action video (on location and greenscreen), musical performance, or any and all improvised & questionable behavior. Through the month of July, a residency at OHWOW (MIAMI) and at Bec Stupak’s Honeygun Labs (NYC) will take place in order to experiment with the possiblity of total video saturation. The finished video will premiere on August 13th with an accompanying installation comprised of any and all emphemera related to the project. Dadarhea-ists include: Devin Flynn, Jim Drain, Naomi Fisher, Ara Peterson, Joe Grillo, Takeshi Murata, Francine Speigel, Melissa Brown, Marie Lorenz, Todd James, Brian Belott, Jessie Gold, Michael Williams, Erin Krause, Alvaro Ilizarbe, Jen Stark, Friends With You, Billy Grant, Laura Grant, Alison Kuo, Eric Fensler…and more!

    Basel, Switzerland

    June 3rd, 2010

    My newest sculpture “The Highest Point” is going to be in the Art Basel fair in Switzerland from June 16-20th in Ping-Pong Gallery’s booth. Check it out if you’re in town.

    “The Highest Point” / 36″ x 27″ x 2.5″ / acid-free colored and metallic paper on wood / 2010

    MIAMI TIME Pirate Radio Show

    May 26th, 2010

    This past Monday night from 7-9pm, our friend Gio asked us to host our own call in pirate-style radio session for her show “Miami Time” on WVUM (the local UM station).  Alvaro Ilizarbe (FREEGUMS) and I invited callers to call in live as they told us about their dogs, girl problems, how to squeeze owls, and read bible scriptures. All while we played songs from Ethiopia, to Miami Bass, to outer space! It was a wild and crazy time! Listen to the whole show here:





    Check out Gio’s website Miami Time & the WVUM website.

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    MAG (Miami Art Guide)

    May 19th, 2010

    Nice interview in MAG (Miami Art Guide), that came out this month. Written by Cara Despain. Click to read:

    Computer Arts Thailand

    May 17th, 2010

    Here is an article about our “FREESIZE” show in Computer Arts (Thailand). I can’t read it because it’s in Thai! Hah nice!

    Jen Stark & Rory Macarthur: Opening May 14

    May 5th, 2010

    My work will be in a 2-person show on May 14, 2010 in Miami at Carol Jazzar’s. It should be an amazing show, so if you’re in Miami, come out! Jen Stark & Rory Macarthur: Opening Friday, May 14 from 7-11 pm at Carol Jazzar’s.


    Carol Jazzar is pleased to present JEN STARK / RORY MACARTHUR, a two person exhibition of new three-dimensional work.

    Miami based Jen Stark’s vibrant oeuvre of the last few years comes full circle here with works that pay homage to her own prolific trajectory. A recessed paper hole in the wall reminiscent of a seminal early work sets the tone for a reflective collection of characteristically mystifying sculptures. Complex gradients and intricate, mingling lattices of color and geometry push the envelope of the artist’s own expectations and explode the ocular sense. A freestanding zig-zag form that invites viewers to encompass it, beguiled by its illusionistic surface further enforces the 360 degree quality to this offering.

    Rory MacArthur’s series is an ambitious investigation into what the artist perceives as the limitless possibilities of non-representational painting. Borne of voluminous, fastidious preparatory drawings, many of which are realized as final works, these candied beauties, all pink, green and melted, exemplify a thoroughness of approach that is important to emphasize in light of their effortless appearances. From an elaborate but direct process involving the repeated carving, sanding and sealing of multiple layers of Styrofoam, the painting, applied to its labor intensive substrata with both roller and air, enamels its topographic playground like a seductive skin, undermining and underlining the inherent physicality.

    With shared concerns, exhaustive methodologies and a penchant to produce catalysts for a kind of spiritual reverie through meditation and psychedelic awe, these artists and their occasionally overwhelming creations seem to tease magic from thin air, making work that floats and pulsates as if supplied by an unseen force. Each piece exacting a kind of visual dance with illusionistic qualities of surface and paint, our privilege is not so much to witness, as it is to participate.

    158 NW 91st Street  •  Miami, Florida




    Posted on: June 11, 2010

    Sarah Sze

    Sze’s training is in architecture and painting, both of which exert their influence in her work. Sze’s art isalso conceptual, with a nod to pop, as she frequently makes use of recognizable objects, such as Q-tips, rulers, light bulbs, and Ritz crackers.  Each work appears to be in a constant state of contraction and expansion, so it comes as no surprise that installations can range from small wall pieces, to twenty foot-high, room-filling installations. 

    Sarah Sze (American, b, 1969) Still Life with Flowers, 1999. Mixed media, dimensions variable.

    Hanging high in the WCMA atrium is one of Sze’s untitled works from 2002.  The sculpture contains many of Sze’s signature objects, like artificial grass and flowers, a QuickGrip clamp, and a tape measure.  Despite the apparent chaos that seems to have dictated the selection of materials, Sze finds a way to create order. The artist says of her installation at the Whitney Museum of American Art in New York, “The idea was that we’re always in a condition of flux. When you view anything, you’re moving, even if it’s just your eyeball. …For me sculpture is an incredible opportunity for movement.” Like the universe itself, Sze’s work appears to be in a delicate state of balance, where the slightest shift could cause the entire construction to collapse.

    Sarah Sze’s eccentric assemblages

    Look at how Sze uses collections of objects to build these elaborate structures. Some of the parts move, light up or even make sounds. Her work seems a good response to the enormous streams of information we live with today.

    I quite like this work because I used this idea to created my work. The idea of my work is hanging as well but just different material.


    Georg Baselitz

    Baselitz’s “upside-down” compositions are stable and strong and in no way detract from the power of his “abstract-figurist” painting, which is as powerful as a winter storm.Born Hans-Georg Kern in 1938 in Deutschbaselitz, a small village near Dresden, he enrolled in the Academy of Visual and Applied Arts in East Berlin in 1956. After two semesters he was suspended for “social and political immaturity.” Subsequently, he moved to West Berlin and changed his name to Georg Baselitz. There he studied the work of the surrealists, dadaists, and other European modernists, but it was his exposure to the work of the American abstract expressionists that was to have the most profound influence on the development of his work.


     Akt Elke 2 (Nude Elke 2), 1976
    Oil on canvas
    78 3/4 x 63 3/4″ (200 x 161.92 cm.)

    The subject matter is depicted upside-down. While, the “upside-down-ness” of Baselitz’s work is the most obvious and provocative feature of his paintings, it is, in the end, an artistic challenge that the artist sets for himself. By doing so, he deftly combines the worlds of abstraction and representation.

    This painting is one of the many portraits he has made of his wife, Elke Kretzschmar, over the past thirty years. In these portraits, Baselitz challenges himself to deny and suppress his emotions about his model to focus instead on conveying pure visual structure in paint. It was this desire to use traditional and recognizable subject matter to explore painterly abstraction that led Baselitz to paint his subjects upside-down.

    Stsfan Sagmeister

     Stefan Sagmeister (born 1962 in Bregenz, Austria) is a New York-based graphic designer and typographer currently living in Bali, Indonesia.

    It’s truly amazing what you can do to yourself and call it art. Most people would get locked up and if they started cutting words into themselves…Oh no wait Sagmeister’s a freaking genius so it’s cool I guess.

    Sagmeister’s personal approach to his work has always been of interest to me. His famous self-promotion AIGA exhbition poster (as shown above) was made up of entirely of a photograph of text cut into his skin. It’s visually shocking, but does just what is needed for a poster to do, it catches the eye.

    What was nice to see then is that Sagmeister is fully enjoying in a position of giving advices to unknown people. For instance, I liked the moments when he became very relaxed and in a sort of private mood, but then in a split second he has realized that he is at a lecture for  future successful designers and he was again very cool design.





    Posted on: May 31, 2010

    Kara Walker

    This was the interview from Kara Walker.

    Kara Walker is an American artist who makes large size black paper silhouettes. She is one of the artist that i have been looking at it . She is the artist who had doing her artwork from her  own memory of childhood.The idea did i get from her is the memory.Kara Walker’s silhouette puppets reveal the veil of the American society. Simple, clean and provoking, and catches people’s attention to want to know more what the story is behind the silhouette puppets.

    Kara Walker

    “Darkytown Rebellion”

    Installation view at Brent Sikkema, New York
    Projection, cut paper and adhesive on wall, 14 x 37 1/2 feet
    Collection of Foundation Musée d’Art Moderne Grand-Duc Jean, Luxembourg
    Courtesy Sikkema Jenkins & Co., New York

    VIDEO: Light Projections

    The method is cut black paper silhouettes.Such as people animals and other characters. Her work is large. You might say that Walker has just one subject, but it’s one of the big ones, the endless predicament of race in America. Walker’s smaller works on paper, wood and canvas board. These are mostly watercolors and mixed media pieces that are like laboratory experiments in converting psychic energy into charged imagery.

    This is my work.
    The content that relate to my work is the memories.But it quite different thing of memories. My is the good thing that’s I love when I’m a child but her one is not a happy memories.
    I was using the same method to created my photograph. Cut out paper stuck it on the wall then took a photos.
    I really love this work because it similar to my work on Digital Image and also my photographer partner that i working with.Kind of memories and family of they own.

    Chistain Boltanski

    Bonltanski was born in Paris to a Jewish father of Ukrainian heritage and a Corsican mother. He lives and works in Malakoff and is married to the artist Annette Messager, with whom he sometimes collaborates.His artistic work is haunted by the problems of death, memory and loss; he often seeks to memorialize the anonymous and those who have disappeared.

    Bonltanski is the one of my interest artist.I love the idea of how to present your work by the subject matter of your own memories.


    Title: Faces

    Work Date: 1966


    I chose this image because it relates to my work . It is in the form of a collage made from overlay negatives when developing photographic images. Individual photographs of  a family are taken and then put together. This was the idea that I get from him and I try to make work that is  similar to him.  His Method is to take photos of an individual  person, make them  different sizes this shows how important that individual is or informs us about how much he wants to talk about that person. He then puts them together through overlay and collage. This can also support other content that is in the picture for instance we begin to notice   the background of the family.

    Tittle: ” La vie possible”


    I choes this picture because it similar to my work. I have been looking at Boltanski work.His method is present your own memories by making a model,turn the light on and projected on the wall then you can see the shadow on the wall.I was using the same method. Cut out paper (car,bike,book,pencil,shoes,child toys etc) and hang them up,turn the light on to get the shadow.

    The hanging model.This was my work but this support to be rotate. This was one of my work that similar to Boltanski work. Using the same method to created the photograph.




    Dan Eldon

     Dan Eldon was born in London on September 18th, 1970, and from a very early age displayed signs of an excellent sense of hum our. When Dan was seven years old, he and his three-year-old sister Amy moved to Nairobi, Kenya with their parents, Kathy and Mike Eldon.

    Dan Eldon’s life has passed into a kind of cult legend.  His family moved to Kenya when he was six.  

     One short film shows The Lord of the Flies almost come to life, where desperate young children are fighting for food; another, a man whipping people to get them to stand back and fall in line for food.  His photos were sold to Reuters and received near-instant international dissemination.  Reuters put him on assignment.

    Dan Eldon

    Eldon’s collages mix the random ,newspaper clippings, for instance, with the particular (his own photos) and makes dynamic the relation of outsized events to reflective life.  The washes of paint and overlay of somewhat obsessive marks I see as the substitute for the verbal heartburnings he might have made, (and that his fans have made since).   At the very least, they represent a review and contemplation of the things he had seen and experienced, many of which would not be easily translatable into words.  Eldon’s work is generally seen in reproduction, but its quality in original would impart more crudity crusts of paper and glue and paint on a thin paper backing, so much so that each of the seventeen journals fans out and strains the binding and the cover another nice metaphor for the tissue of narrative order to which we bind events.

    The Art Of Life

    I chose this image because was one of his work that was the idea that i got from him.To make my work look similar to him.He method is taking photos individual a plase,himself,amimals making the collage. The content is the story behind it.He was travel to many countries and many things happen to him. You acn see from many different photos on this

    This picture is from he journal book that’s his done. This was  quite similar to my photographer partner. She has done by the same method, make the collage and took photos. My idea is try to add some writhing, other photo or could be drawing into it.



    Further Reading/Viewing:
    Dan Eldon’s notebooks on the Library of Cultural Curiosity page (on sidebar)
    Mark Bowden’s Black Hawk Down




    Read more: http://lookingaround.blogs.time.com/2007/10/09/kara_walker_at_the_whitney_1/#ixzz0ppWd3jr9



    Posted on: May 30, 2010

    This is one of my favourite drawing from digital drawing. I done it by hand, adding some colours into it . I taking the picture from different page then put them together. All is the most important characters in the story “Detective Conan”

    Here is some of the shot movie from  detective conan year nine 2 part1/2

    This was the one of the great shot movie that I like. This shown the real time that you have been doing. The subject matter is could be family, abandonment, small town, culture, the cars, language or the kids. The movie is all about the Maori parent they taken they children out with them,but was at night time. They late them waiting inside the car until they coming out of the nightclub. At the time I have seen how was the kids talk.

    Damien Hirst – Report by Amanda Cook

    The Pysical Impossibility of Death in the Mind of Someone Living

    Alongside his countryman Chis Ofili, the work of Damien Hirst was among some of the most controversial art of the nineties’ “New British Artist” Movement. Ofili’s infamous portrait of the Virgin Mary was shown alongside Hirst’s equally infamous “The Physical Impossibility of Death in the Mind of Someone Living”. While Ofili’s painting was lambasted for portraying the virgin Mary alongside pornographic images and elephant dung, Hirst’s piece was criticized as not being art at all. The Stuckism International Gallery famously parodied Hirst’s work by putting a taxidermy shark in their window and calling it “A Dead Shark Isn’t Art”. Originally commissioned by the famous British gallery owner Charles Saachi, the piece is now on display at the Metropolitan Museum of Art in New York City. The piece consists of a preserved shark carcass suspended in a formaldehyde solution; the original shark had to be replaced in 2006 due to deterioration but Hirst considers it to be the same sculpture.

    “The Physical Impossibility of Death in the Mind of Someone Living” serves as an effective window into Hirst’s overall body of work. His art almost always deals with critical human issues, most especially death and decay. His work style is distanced; he cites Andy Warhol as his inspiration for his working methods. Hirst works with a dedicated team of assistants who have collaborated with him for years, and he jokingly says that when he grows old he’ll have to scale his work down to accommodate the backs of his assistants because he doesn’t believe in replacing them with younger people. Hirst believes in the importance of the artistic concept above all else; and his hand is usually far removed from the final product. For example, in his extensive series of dot paintings, he only painted five. One of his recent showings, “Beyond Belief” featured a series of intricate “fact paintings”, which were meticulously painted from photographs by his assistants.

    “Beyond Belief” also featured Hirst’s most famous contemporary work, “For the Love of God.” The piece is so named because upon telling his mother of his idea, she exclaimed, “For the Love of God!” The piece is a platinum cast of a human skull which was then covered in diamonds. Again, Hirst did not create the piece himself, but commissioned it from Jewelers in England’s Hatton Garden district. The original teeth from the skull were then placed in the mouth. The piece cost around fourteen million pounds to manufacture (equivalent to about 21.25 miillion US). When asked about the cost of the piece, Hirst replied, “…people don’t really mind money being spent on beautiful things, it’s ugly things that are a problem and there are plenty of ugly fucking buildings in the world that cost way more than the skull”.

    This work are very lovely. That so expensive and take time to do it.
    For the Love of God (2007)

    Like “The Physical Impossibility of Death in the Mind of Someone Living” and his equally famous “Thousand Years”, “For the Love of God” confronts themes of death and the taboo while simultaneously critiquing conventional forms of art. Hirst frequently challenges the boundaries between the literal and the artistic; “Thousand Years” did not represent death, it created it. The piece featured a rotting cow head, a box of flies and a insect electrocuter; creating an entire life cycle within an art gallery. Hirst has said he is interested in creating “sympathy with meat”, by forcing people to confront the empty carcasses of the dead. Before becoming an artist, Hirst spent time in morgues taking notes and sketching; he famously brought a friend to a morgue and punched the corpses to shock his friend into seeing that bodies are nothing but “meat”.

    His frequent use of dead animals has brought him a slew of criticism both within the art world and within society at large. However, one of Hirst’s most enduring themes is his confrontation with fears of death; he has reportedly admitted to being terrified of dying and his work directly (and litereally) represents these fears of decay and lifelessness.

    To anyone interested in Hirst’s work, I would definitely suggest a personal viewing. The Chambers Art Hotel in Minneapolis has some of his work on display (including a spin painting and a sheep head in a vitrine), and it is free – even encouraged – to walk through the lobby and take a look. Seeing his work first hand is much different than reading about it or looking at picture. Even though I neither love nor hate Hirst’s work, I can say that I only opened up to his work after I saw a piece with my own two eyes, and not before. Seeing something dead in person is inescapable in a way that a photograph is not, and this is the power of Hirst’s animal works. He is a truly unique and opinionated artist; certainly not for everyone. But nonetheless I think everyone should experience one of his works first hand, if only for the confrontation he forces upon you.

    A Thousand Years (1991)

    Judas Escariot (1994) – On Display at the Chambers Art Hotel in Minneapolis



    Hirst, Damien. Beyond Belief. London: White Cube, 2008.

    —. Void. München: Schirmer/Mosel, 2007.

    Hirst, Damien, and Gordon Burn. On the Way to Work. London: Faber, 2001.

    Octavia Nicholson. “Hirst, Damien.” Grove Art Online. Oxford Art Online. 26 Nov. 2008 .

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    • Apirath: i love it wow!! great blog....
    • Toni MacKinnon: Good start so far Amornrat. Let's meet next week and talk about how I can assist you with this blog sometime after 3 on Tuesday of next week. cheers,
    • aying1001: This was the one of the great shot movie that I like. This shown the real time that you have been doing. The subject matter is could be family, abando