Ashley Wood
- Celsius
- Flipper
- Posts: 8311
- Joined: Sat Aug 13, 2011 11:14 pm
- Location: Los Angeles, California (was in Yokohama, Japan)
"Beautiful white wings for you. For the world? Death and destruction." - Spoiler Character (Baten Kaitos: Eternal Wings and the Lost Ocean)
https://plushart.club
https://plushart.club
New one up in his web store. Looks like an edition of 75.
http://ashleywoodgallery.myshopify.com/ ... -the-chase
http://ashleywoodgallery.myshopify.com/ ... -the-chase
- agilegiant
- Art Connoisseur
- Posts: 451
- Joined: Sat Jan 29, 2011 5:35 pm
http://ashleybambaland.blogspot.ca/2014 ... -soon.html - up right now
This is a cool image, but I don't like that line down the center for some reason. Makes it feel like there's two halves. My eye centers right in on it.
Mmmmm. It looks like 2 halves because it is 2 halves?
Ash has adopted the diptych approach to many of his pieces the last few years, as has been used by many artists throughout the centuries. I've not seen the originals for this particular one, but I'd wager they are 2 canvases butted together. I am sure he didn't run out of room on one and decide to continue it on another piece (though Ash has done that many times with ink on paper). He likes people to see the tape in his art books. The whiteout correction and the pasteover pieces of paper.
Surely there is a physical line there because he wants it there. You'd have to ask him why he likes the approach in his work. I can only speculate.
Often artists do it to put 2 distinctly different images together to juxtapose the two. Sometimes they do it so there is a physical visual interruption in a single image. In this case it forces the viewer to consider the object and the artist and not just the image as a scene to be glanced at and move on. Some artists do it because it makes transportation of an original more accessible.
Ash is a fan of visible process. He wants people to see flaws, corrections, adjustments as much as what is right and good and perfect. His work tends to be a high wire act. Seldomly working and reworking pieces, he attacks the materials and lets it all hang out as they say. To a degree, it is a type of performance art. It is punk rock. He doesn't practice over an over to refine the work. It is raw, and the hand of the artist is evident.
By splitting the canvases here, he draws attention to those other things. The viewer can't peer through an unmarred framed window and see an illustration. Instead they are forced to look past or through the void. To reassemble it visually/internally as we do when looking through and past distractions in every day life. Perhaps that was his goal?
Or it could be because artists that Ash himself is a fan of other artists that have done it for years, and Ash thinks it looks cool, so he does it too?
Or there was a sale on pre-stretched square canvases that day, and he was looking for a bargain?
Ash has adopted the diptych approach to many of his pieces the last few years, as has been used by many artists throughout the centuries. I've not seen the originals for this particular one, but I'd wager they are 2 canvases butted together. I am sure he didn't run out of room on one and decide to continue it on another piece (though Ash has done that many times with ink on paper). He likes people to see the tape in his art books. The whiteout correction and the pasteover pieces of paper.
Surely there is a physical line there because he wants it there. You'd have to ask him why he likes the approach in his work. I can only speculate.
Often artists do it to put 2 distinctly different images together to juxtapose the two. Sometimes they do it so there is a physical visual interruption in a single image. In this case it forces the viewer to consider the object and the artist and not just the image as a scene to be glanced at and move on. Some artists do it because it makes transportation of an original more accessible.
Ash is a fan of visible process. He wants people to see flaws, corrections, adjustments as much as what is right and good and perfect. His work tends to be a high wire act. Seldomly working and reworking pieces, he attacks the materials and lets it all hang out as they say. To a degree, it is a type of performance art. It is punk rock. He doesn't practice over an over to refine the work. It is raw, and the hand of the artist is evident.
By splitting the canvases here, he draws attention to those other things. The viewer can't peer through an unmarred framed window and see an illustration. Instead they are forced to look past or through the void. To reassemble it visually/internally as we do when looking through and past distractions in every day life. Perhaps that was his goal?
Or it could be because artists that Ash himself is a fan of other artists that have done it for years, and Ash thinks it looks cool, so he does it too?
Or there was a sale on pre-stretched square canvases that day, and he was looking for a bargain?
- ForbinsAccent
- Art Connoisseur
- Posts: 467
- Joined: Wed Feb 08, 2012 6:07 pm