Name: SPENDING THE DAY ON A STONE (Pink)
Price: 10000.0 EUR
Availability: SoldOut

Joakim Ojanen

SPENDING THE DAY ON A STONE (Pink)

Public

A new collaboration with Joakim Ojanen transfigures a smiling, rock-hopping cephalopod into polished marble and bronze.

Intelligent and mysterious, an octopus emerged from Ojanen’s menagerie of bizarre characters as the perfect subject for his first foray in marble. Happy, perhaps unnervingly so, the 8-legged creature looks out from its titular stone – content with being a static observer to the ceaseless passage of time.

“I see my human figures as self portraits, more or less, but the octopus is my friend. A true trooper who will stay by my side in any weather.”

Natural veining running through the pink and green marble lends each sculpture its own unique character, set off by the patina formed gradually on its bronze adornments. The premise  of a stone sculpture, sitting on a stone, embodies the wry humour found throughout Ojanen’s practice.

20th century art embraced the new era by departing from realistic representation and traditional ideas, leading to various abstract styles.

In the 20th century, the art world embarked on a journey that fully embraced the novelty and dynamism of a rapidly changing era. This period saw a resounding rejection of conventional notions of realistic representation and traditional aesthetic norms. Instead, it gave rise to a multitude of innovative styles within the realm of Abstract Expressionism, among which Cubism emerged as the most prominent and profoundly influential.

Cubism, in particular, revolutionised the way artists perceived and represented the world around them. Pioneered by figures like Pablo Picasso and Georges Braque, this avant-garde movement shattered the boundaries of traditional artistic expression. It deconstructed objects and forms into geometric shapes and facets, presenting a multifaceted view of reality. Through the dissection of subjects into a kaleidoscope of angles and viewpoints, Cubism challenged viewers to engage with art in a wholly novel and intellectually stimulating manner.

The impact of Cubism extended far beyond the canvas, influencing not only the visual arts but also architecture, literature, and even the way society viewed the world. It marked a pivotal moment in the evolution of artistic thought, setting the stage for the diverse and ever-evolving artistic landscape of the 20th century. Cubism's legacy endures as a testament to the boundless potential of human creativity and the transformative power of art to capture the essence of an era in flux.

20th century art

Abstract art doesn't try to show things as they appear in reality – it uses shapes, colours, forms, and gestures to create its impact.

Abstract literally means to separate or isolate something from something else, and it's been a central part of modern art since the early 1900s.. This term is used in art to describe works based on objects, figures, or landscapes that have been simplified or stylised, while it's also used for art that uses forms like geometric shapes or expressive marks that have no direct reference to external reality. Some artists who work in this 'pure' abstract style may use terms like concrete art or non-objective art, but in practice, abstract is the commonly used term, and the distinction between the two isn't always clear.

Abstract Art

Abstract Expressionism was the dominant art movement in the 1940s and ‘50s, characterised by gestural brushwork and emphasising spontaneity.  

During the 1940s and 1950s, Abstract Expressionism made New York City a major player in modern art. The artists had different styles but shared a commitment to using abstract art to express personal beliefs and important human values. They favoured bold, expressive abstraction, especially in large paintings. Jackson Pollock and Willem de Kooning were leading figures.

Abstract Expressionism

Abstract illusionism is commonly associated with the decorative designs found in Baroque art, particularly in building ornamentation.

The works were mainly influenced by expressionistic and hard-edge abstract painting styles. They also incorporated elements like perspective, artificial lighting, and fake cast shadows to create the impression of 3D space on a flat surface. Abstract illusionism was distinct from traditional Trompe-l'œil (fool the eye) art because it made the picture space appear to come out of or extend away from the canvas, rather than receding into it as in traditional painting.

Abstract Illusionism

Abstract landscapes draw inspiration from the real world but purposefully diverge from it, prioritising shapes over literal representations.

Abstract landscape paintings deliberately depart from reality, making them intriguing for both artists and viewers. Artists have the liberty to employ unconventional colour schemes, amplify shapes, and use details and textures to convey a wide range of emotions and ideas. Two of the most famous abstract expressionists include Jackson Pollock and Helen Frankenthaler.

Abstract Landscape

Acrylic paint is a quick-drying paint composed of pigment suspended in an acrylic polymer emulsion. 

Acrylic paint, first developed in the 1950s, employs a synthetic resin to bind pigments. Its adaptability shines through in its ability to be thinned with water, allowing for both thin and thick applications, mimicking the qualities of watercolour or oil painting, or manifesting unique characteristics not found in other mediums. Once dry, acrylic paint becomes waterproof.

Thanks to its versatility and rapid drying time, acrylic paint has gained immense popularity as a painting medium, widely embraced by contemporary artists. Notably, artist David Hockney was an early advocate of acrylic paint, using it to create some of his most iconic works during the 1960s.

An important distinction between acrylic paint and oil paint lies in their bases: acrylics are water-based, while oils are oil-based.

Acrylic Paint

Action painting is a style where paint is applied spontaneously by dripping, splashing, or smearing onto the canvas instead of meticulous application.

In 1952, art critic Harold Rosenberg introduced the term "action painting" to characterise artists who employed bold, physically engaging gestures, departing from the conventional easel painting. Typically, the viewer can discern broad brushstrokes, drips, splashes, or other indications of the physical involvement in creating the artwork.

The label ‘action painters’ is used for artists active from the 1940s to the early 1960s, emphasising the physical act of painting as an integral aspect of the completed artwork.

Action Painting

African art includes paintings, sculptures, installations, and various forms of visual culture produced by native or indigenous Africans on the African continent.

African art encompasses the diverse and rich visual expressions originating from native Africa, with a primary focus on sub-Saharan Africa. This multifaceted artistry includes a wide array of media, such as sculpture, painting, pottery, rock art, textiles, masks, personal adornments, and jewellery. These forms of artistic expression not only serve as a reflection of Africa's vibrant cultural heritage but also encapsulate the intricate stories, traditions, and beliefs of the diverse communities across the continent. African art is celebrated for its profound connection to spirituality, history, and everyday life, making it a captivating and vital part of the global artistic landscape.

African art

Afrofuturism is a cultural style blending science fiction, history, and fantasy to delve into the African-American experience.

The term ‘afrofuturism’, initially introduced by cultural critic Mark Derry in 1993, describes a creative approach that reimagines Black history, culture, and potential futures by blending science fiction and fantasy. Black artists across various fields, such as music, dance, painting, and literature, employ afrofuturism as a means to rediscover the past, grasp the present, and envision a future shaped by their unique perspectives.

Afrofuturism

An Algorithm is a set of instructions used to solve problems, perform specific tasks or make decisions.

With origins in mathematics, algorithms are now a crucial element of coding and Generative Art. Making changes to an algorithms will result in different outputs from a given input. More advanced algorithms use conditional decisions – 'automated reasoning' – to progress from intput to output. Determninistic algorithms will have a more controlled output, however some algorithms incorporate one or more randomised steps and as such have more unpredictable outcomes.

Algorithm

Antiquity refers to the ancient past, from approx 4,500 BCE, marking the origins of Western civilization, to around the start of the Middle Ages.

Early Antiquity features various forms of art, including advanced pottery and the invention of the potter's wheel, complex religious art like Egyptian pyramid architecture, storytelling through relief sculptures like upright stone or wooden steles, and intricate decorative art such as jewellery, ornate weaponry, mosaics, ivory carving, and pottery painting. During early Antiquity, the primary civilizations were Mesopotamia and Egypt, with additional notable cultures like Ancient Persia, which emerged around 3,500 BCE.

Antiquities

Aquatint is a print resembling a watercolour painting, etching a copper plate with nitric acid and using resin and varnish to achieve tonal shading.

Aquatint is a printmaking technique, similar to etching, but it's used to create tones instead of lines. It's often combined with other intaglio methods. In aquatint, fine particles of acid-resistant material, like powdered rosin, are heated and attached to a printing plate. The plate is then dipped in acid, just like in etching, which eats away the metal around the particles, forming a textured pattern of small indented rings. These rings hold ink and give the illusion of shaded areas when printed. 

You can control the printed areas by using varnish on the plate, and different tones are achieved by varying the time in the acid bath – longer times create darker tones. This technique originated in France in the 1760s and became popular in Britain in the late 18th and early 19th centuries. 

Aquatint

Art Nouveau is a global design style from the 1890s, known for its graceful, flowing lines and organic shapes inspired by natural plant forms.

Art Nouveau is an international artistic movement from the late 19th to early 20th centuries, aimed to unite various art forms and capture the intense sensory experiences of urban life. While it influenced painting and sculpture, its primary expressions were found in design, performance art, and architecture. Different regional variations bore names like Arte Nova, Glasgow Style, Stile Liberty, and Arte Modernista. The well-known version, Art Nouveau (meaning ‘New Art’ in French), thrived in France and Belgium, featuring sinuous and asymmetrical lines inspired by organic shapes.

Art Nouveau

Arte Povera (poor art) was an art movement in 1960s Italy that endeavoured to forge a fresh sculptural style using modest, common materials. 

In the late 1960s, young Italian artists sought to develop a fresh sculptural style using ordinary materials in a movement known as Arte Povera or ‘poor art’. Coined by Italian critic Germano Celant in 1967, this term encapsulated the work of these artists, as Celant identified a common revolutionary essence in their art, closely tied to the growing radical political climate in Italy. Through the use of basic, temporary materials like soil, cloth, and branches, Arte Povera artists aimed to defy and break free from the commodification of art.

Arte Povera

Artificial Intelligence (AI) is a field of computer science and technology that focuses on creating systems and machines capable of performing tasks that typically require human intelligence. 

These tasks include problem-solving, learning, reasoning, understanding natural language, and recognizing patterns. AI systems use algorithms, data, and computational power to emulate human cognitive functions, enabling them to automate processes, make decisions, and adapt to changing circumstances.

Artificial Intelligence

Appropriation in art involves deliberate borrowing, replicating, and modifying of existing images, objects, and ideas as an artistic approach.

Appropriation has had a significant impact on the history of the arts – its origins can be traced back to the cubist collages and constructions of artists like Pablo Picasso and Georges Braque, starting around 1912. They incorporated real objects like newspapers to represent themselves. This approach was further developed in the readymades of French artist Marcel Duchamp from 1915 – one of the most infamous examples is ‘Fountain’, a men's urinal signed, titled, and presented on a pedestal. 

Surrealism also extensively employed appropriation in collages and objects, exemplified by Salvador Dalí's Lobster Telephone. In the late 1950s, artists like Jasper Johns and Robert Rauschenberg, as well as the pop art movement, prominently featured appropriated images and objects. 

Appropriation art raises questions about originality, authenticity, and authorship, fitting within the broader modernist tradition of art that challenges the nature and definition of art itself.

Artist Appropriation

An art commission involves asking for the creation of a piece, typically on behalf of someone else.

In art, a commission refers to the formal act of requesting the creation of a specific piece, usually done on behalf of another party. This practice extends across various domains, including private individuals, governmental bodies, and businesses. These types of commissions bear similarities to endorsements or sponsorships, as they involve a deliberate arrangement where an artist is entrusted with the task of crafting a work to meet particular specifications or desires. This collaborative process allows for the realisation of customised and bespoke artworks that cater to the unique visions and preferences of the commissioning party.

Artist Commission

An artist's proof (AP) is a special type of proof that is kept by the artist for their own personal use or for sale at a later date.

Artist's proofs are generally marked as 'AP' and are sometimes altered or hand-finished by the artist, making them more valuable to collectors. The number of artist's proofs is usually limited and separate from the main edition. They offer a glimpse into the artist's creative process and are often considered more valuable than regular edition prints.

Artist's Proof (AP)

Assemblage is characterised by the arrangement of three-dimensional elements on a defined surface, often protruding from the substrate.

The practice of assemblage in art traces its roots back to Pablo Picasso's cubist constructions, which marked the inception of his three-dimensional works in 1912. One early example is his creation "Still Life" from 1914, composed of various wood scraps and a piece of tablecloth fringe, ingeniously glued together and then painted. Picasso continued to employ assemblage intermittently throughout his artistic journey.

In 1918, the Dada artist Kurt Schwitters pioneered the use of scavenged materials to craft collages and assemblages, coining the term "merz" for this technique. Assemblage also served as the foundation for numerous surrealist artworks. Inspired by the writings of psychologist Sigmund Freud on the realms of the unconscious and dreams, surrealist artists frequently amalgamated improbable combinations of found objects, giving rise to surprising and disconcerting sculptures.

Assemblage

Automatism involves crafting artwork without deliberate thought, tapping into the reservoir of the unconscious mind.

The term ‘automatism’ is adopted from physiology, where it denotes bodily actions that occur without conscious control, such as breathing or sleepwalking. Psychoanalyst Sigmund Freud employed techniques like free association and automatic drawing or writing to delve into the unconscious thoughts of his patients.

Automatism

An autonomous system is a system that uses a non-human decision maker. 

Autonomous systems have been used by humans for centuries to relinquish control, with systems of logic ranging from simple games to unfathomably complex algorithms. In the context of Generative Art, an autonomous is usually a non-human entity such as a computer program or machine. Here, the artist allows this entity to guide the final outcome – or artwork – in ways they cannot fully anticipate. Many of the results can be found on the blockchain.

Autonomous System

Bauhaus was a groundbreaking institution for art, architecture, and design, founded in 1919 by Walter Gropius in Weimar, Germany.

The Bauhaus teaching approach replaced the traditional teacher-student dynamic with a collaborative community of artists. Its goal was to reconnect art with everyday life, giving equal importance to architecture, performing arts, design, and applied arts alongside fine art. 

The name ‘Bauhaus’ combines the German words for ‘building’ (bau) and ‘house’ (haus), perhaps suggesting a collective effort to construct a new society. Prominent teachers included Wassily Kandinsky, Paul Klee, László Moholy-Nagy, and Josef Albers.

Bauhaus

The Ben Day process is a method in printing that creates shades of grey or different colours by using intricate ink patterns on paper.

A low-cost mechanical printing technique, developed in the late 19th century and named after its creator, illustrator and printer Benjamin Henry Day, Jr., employs small coloured dots (usually cyan, magenta, yellow, and black) placed at different intervals and blended to produce shading and various colours in images.

Ben-Day Dots

Biomorphism comes from the Greek ‘bios’ (life) and ‘morphe’ (form), describing abstract shapes or images that remind people of living things. 

Biomorphism is an artistic design approach that draws inspiration from patterns and forms found in the natural world and living organisms. It involves emulating these organic elements to create aesthetically pleasing and harmonious designs. At its most radical, biomorphism seeks to integrate these naturally occurring shapes into functional objects or devices, seamlessly blending art and functionality. This design philosophy celebrates the beauty and efficiency of nature's creations and endeavours to infuse them into the man-made world.

Biomorphism

The Black Arts Movement was an art movement led by African Americans, active in the 1960s and 1970s.

The Black Arts Movement, initiated by African American artists and thinkers in the 1960s and 1970s in the United States, emerged during a period when Black people worldwide were striving for freedom and equality. This movement aimed to empower Black individuals by focusing on cultural creations such as literature, theatre, and visual arts deeply rooted in Black history and identity. 

The art produced was designed for Black audiences and was intended to be readily available, both in terms of its subject matter and its accessibility through public murals and affordable prints.

Black Arts Movement

The blockchain is a distributed and decentralized digital ledger technology that securely records transactions across a network of computers.

It was originally developed as the underlying technology for cryptocurrencies like Bitcoin and Ethereum. In a blockchain, each transaction is verified and added to a chain of blocks, forming a transparent and tamper-resistant ledger. Blockchain technology has since found applications beyond cryptocurrencies, including supply chain management, voting systems and digital identity verification.

Blockchain

The built environment refers to human-made surroundings, typically used in architecture, urban planning, public health, sociology, and anthropology.

The built environment encompasses spaces crafted by human efforts, such as cities, buildings, infrastructure like electricity grids and highways, landscaped areas, and resource extraction sites like mines and oil wells. How these spaces are planned and organised influences our social, cultural, and physical interactions with them. This concept gained prominence in the 1960s in the United States and Europe as it expanded from ecological sciences to fields like anthropology, psychology, urban planning, and architectural design, exploring the connections between organisms and their surroundings.

Built Environment 

A Certificate of Authenticity (COA) is a document that accompanies a piece of artwork to verify its authenticity.

The COA is typically issued by the artist, the gallery, or the publisher and includes details like the edition number, the size of the edition, and the materials used. It serves as a guarantee of the work's authenticity and can be important for valuation and resale. A COA provides collectors with the assurance they need when investing in a piece of art, adding credibility and value to the artwork.

Certificate of Authenticity (COA)

A collagraph is a collage of materials with different textures adhered to a printing plate, typically made of thin wood or cardboard.

Collagraphy, a printmaking technique pioneered by Glen Alps in 1955, involves the application of various materials onto a sturdy base surface. The term ‘collagraphy’ derives its origins from the Greek words ‘koll’ or ‘kolla’, signifying glue, and ‘graph’, referring to the act of drawing.

In this method, artists create unique textures and patterns by affixing an assortment of materials, such as paper, fabric, string, or even found objects, to a rigid substrate like wood or cardboard. The result is a highly textured printing plate that, when inked and pressed onto paper, produces prints with rich, intricate surfaces that showcase the tactile qualities of the materials used. Collagraphy allows artists to explore a wide range of creative possibilities, making it a versatile and expressive form of printmaking.

Collagraph

Conceptual art emerged in the late 1960s, prioritising the idea or concept behind the piece over the actual art object.

Conceptual art, or conceptualism, was formed in the late 1960s, and focused on ideas (i.e. concepts) and theories more than making visual works. In 1967, artist Sol LeWitt named this new type of art ‘conceptual art’ in his essay ‘Paragraphs on Conceptual Art’. He said, "The idea itself, even if not shown visually, is just as much art as any finished thing." Conceptual artists used their art to challenge the idea of what art is, and to criticise the ideas behind how art is made, shared, and shown.

Conceptual Art

Conceptualism is an art movement that emerged in the mid-20th century, emphasizing the idea or concept behind an artwork rather than its visual or aesthetic qualities.

In conceptual art, the concept or the thought process is considered more important than the final physical form of the artwork. Artists often use various mediums, including text, photographs, and installations, to convey their ideas, challenging traditional notions of art and aesthetics.

Conceptualism

Contemporary art is commonly used to describe art that pertains to the current era, often characterised by its innovative or avant-garde qualities.

At its core, ‘contemporary art’ includes various art forms like painting, sculpture, photography, installation, performance, and video art created in the current timeframe. However, pinpointing its precise beginning can be somewhat vague, as people's interpretations of ‘today’ vary significantly. So, the exact inception of this genre remains a subject of debate. Nevertheless, many art historians find the late 1960s or early 1970s (marking the conclusion of modern art or modernism) to be a reasonable approximation.

Contemporary Art

Contemporary performance is a body of work that blends elements from visual art, dance, and musical compositions, to construct an artistic expression.

Contemporary performance spans a wide array of fields, with no confines on pushing boundaries. It integrates modern techniques and encourages innovative thinking, offering audiences a markedly distinct experience compared to traditional classical performances. This tradition traces its roots back to the early 1800s, evolving through the Avant Garde movement into the present-day postmodern era. Immersing oneself in the realm of contemporary theatre opens doors to extensive collaborations and profound critical examinations of each technique, shedding light on their historical and present-day relevance.

Contemporary Performance

Cubism was a revolutionary art style and movement, invented by Picasso and Braque in 1907-08, that brought different viewpoints into the same picture.

The term ‘cubism’ was coined by the critic Louis Vauxcelles, who described Georges Braque's paintings displayed in Paris in 1908, as “reducing everything to geometric outlines, to cubes.”

Cubism itself was introduced by Pablo Picasso and Georges Braque in the early 20th century, marking a groundbreaking shift in representing reality. As one of the most influential 20th-century art styles, it’s widely recognized to have originated around 1907, notably in Picasso's renowned work ‘Demoiselles D'Avignon’, which exhibited early cubist elements. 

In Cubism, conventional subjects like nudes, landscapes, and still lifes underwent a transformation into progressively fragmented compositions. The impact of Cubism reached across a global community of artists working in Paris during that era and continued to influence art beyond those years.

Cubism

Dada was an artistic movement formed during WWI in Zurich, in response to the war’s horrific scenes. The art was often satirical and nonsensical.

Dada emerged as a response to the horrors of World War I (1914–18) and the rise of modern media and machinery. In both art and literature, Dadaism aimed to unveil established and often oppressive norms of order and rationality. 

Founded by writer, Hugo Ball, Dada embraced methods characterised by chance, spontaneity, and irreverence, venturing into diverse mediums, from collage and photomontage to ordinary objects and performance, shattering conventional notions of art creation and appreciation, and redefining the boundaries of permissible materials.

Dada

Digital art is artwork created or presented leveraging digital technology.

Digital art encompasses any form of artistic creation or practice that incorporates digital technology in the creative or presentation process. It also includes computational art that interacts with – and leverages – digital media.

The term ‘digital art’ first emerged in the early 1980s when computer engineers developed a painting program that the pioneering digital artist Harold Cohen used. This program, known as AARON, was a robotic machine designed to create large drawings on sheets of paper positioned on the floor. Over time, as technology advanced, Cohen continued to refine the AARON program, delving further into the realm of artificial intelligence.

Digital Art

Digital printing is a technique that involves printing an image directly onto various types of media from a digital source.

Digital printing is a way to print digital images on different materials without using a printing plate, unlike offset printing. You can send digital files, like PDFs or desktop publishing files, straight to the digital printer to produce prints on various surfaces like paper, photo paper, canvas, fabric, cardstock, and more.

Digital Print

Drypoint is a printmaking method in which a design is inscribed onto a plate using a sharp, needle-like tool.

Drypoint is an intaglio printmaking method that produces distinct lines with soft, velvety edges. It involves the use of a diamond-pointed needle to incise lines directly into an unprepared metal printing plate, displacing metal ridges that adhere to the edges of these incised lines, known as burrs. During the inking process, the incised lines and burrs capture the ink. Damp paper is then placed on the plate and passed through a press, causing it to collect ink from both the incised lines and burrs, creating the characteristic fuzzy line quality.

Drypoint

An edition refers to a specific set of prints or artworks that are produced at a certain time or for a particular event.

Each piece in an edition is usually numbered and may be signed by the artist, which adds to its value and collectibility. The size of the edition—how many pieces are produced—can also influence the value of each individual piece. Editions are common in the art world, allowing artists to reach a broader audience while maintaining the integrity and value of their work.

Edition

The edition number is the specific number assigned to a print or artwork within an edition, usually indicated as a fraction.

For example, the first print in an edition of 100 might be marked as 1/100. The edition number can provide insight into the value of the piece; earlier numbers are sometimes considered more valuable, although this is not a universal rule. Knowing the edition number can be crucial for collectors and galleries as it adds another layer of information about the artwork's provenance and exclusivity.

Edition Number

Edition size refers to the total number of copies produced in a specific edition of prints or artworks.

The size of an edition can significantly impact the value of each individual piece; smaller editions are often considered more exclusive and therefore may command higher prices. Artists and publishers usually decide on the edition size based on various factors such as the artwork's popularity, the artist's reputation, and market demand.

Edition Size

Engraving is a printmaking method where incisions are crafted into a metal plate, serving to hold the ink and shape the resulting printed image.

Engraving is an intaglio printmaking technique where lines are meticulously incised into a metal plate, enabling it to retain ink. You typically use copper or zinc plates, and they undergo thorough polishing to eliminate any surface blemishes or scratches, ensuring that only the intended lines are transferred during printing.

Engraving

ERC-1155 is one of two standards within the Ethereum blockchain ecosystem.

ERC-1155 is a multi-token standard that allows the creation of fungible (indistinguishable) and non-fungible (unique) tokens within a single smart contract. This standard is commonly used for creating digital assets such as in-game items, collectibles and digital art.

ERC-1155

ERC-721 is one of two standards within the Ethereum blockchain ecosystem.

ERC-721 is used for creating non-fungible tokens (NFTs) on the Ethereum blockchain. NFTs are unique digital assets that represent ownership of a specific item, piece of art, or other digital content. Each ERC-721 token has a distinct value and cannot be exchanged on a one-to-one basis with other tokens, making it ideal for representing ownership of rare or one-of-a-kind digital items.

ERC-721

Etching is an intaglio printmaking technique where acid is used to incise lines or areas into a metal plate, creating channels that retain the ink.

Etching is an intaglio printmaking method that yields delicate, fluid lines, ranging from elegant and sinuous to precise and textured. It involves using an etching needle, a fine-pointed instrument, to draw on a metal plate coated with a thin layer of waxy ground, providing an easily drawable surface. 

When the plate is exposed to acid, the waxy ground shields the covered areas, while the drawn lines are revealed and etched by the acid. After removing the coating, the plate is inked, filling only the etched lines. Damp paper is then pressed onto the plate and passed through a press, causing the paper to conform to the etched lines and absorb the ink.

Etching

Expressionism is an art style that distorts reality in order to emphasise personal expression, characterised by intense colour and brushwork.

Expressionism encompasses diverse artistic approaches focused on intense personal expression. Rejecting the rigid bourgeois values of the early 20th century, and breaking away from state-sponsored art academies, Expressionist artists embraced bold simplification, distortion of forms, vibrant, and – at times – discordant colours. Expressionism can be viewed as a natural extension of the Romanticism movement.

Expressionism

Fauvism is the style of les fauves, a group of early 20th-century painters (including Matisse) who used vivid and non-naturalistic colours. 

Fauvism was an art movement that emerged in the early 20th century, prioritising intense, vibrant colours and bold brushwork over realistic or representational characteristics. Henri Matisse and Andre Derain were key figures within this informal collective, and when their artworks were displayed in 1905 in Paris, critic Louis Vauxcelles mockingly labelled the pieces, marked by their expressive and non-naturalistic palette, as the creations of ‘fauves’ or ‘wild beasts’.

Fauvism

Feminist art is a genre of art linked to the feminist movement of the late 1960s and 1970s.

Feminist art emerged in the 1960s and 1970s, aiming to challenge male dominance in both the art world and society, advocating for recognition and equality for women artists, and challenging preconceptions about womanhood. Artists within this movement used diverse mediums, including painting, performance art, and crafts traditionally associated with ‘women's work’, to address issues such as sexism, oppression, and the notion that femininity is a constructed facade adopted by women to conform to societal norms. 

While the discussions initiated during this period persist, a younger generation of feminist artists now incorporates intersecting concerns related to race, class, various forms of privilege, and gender identity and fluidity. Both feminism and feminist art continue to evolve.

Feminist Art

A film positive is a transparent film displaying a positive image, typically used in printing processes like screen printing.

This film acts as a stencil during the photo-exposure process. In screen printing, for example, the film positive is placed on a screen coated with photosensitive emulsion and then exposed to light. The areas of the emulsion that are not covered by the film harden, while the covered areas remain soft and can be washed out, creating a screen stencil for printing. The use of film positives is common in various forms of printing and lithography, making it a crucial element in these processes.

Film Positive

Hand-finishing refers to the manual process of adding finishing touches or details to a print or piece of artwork after the primary creation process.

This can include techniques like painting, drawing, or adding texture. Hand-finishing is often used to make each piece in an edition unique, adding a personal touch from the artist and increasing the artwork's value. The additional work put into hand-finishing can make each piece a semi-original, blending the boundaries between original works and reproductions.

Hand-finishing

Immersive art offers a heightened level of interactivity and experiential engagement, providing viewers with a more immersive experience.

Immersive art is a form of creative expression that actively involves and envelops the observer, which can be done either in person or through virtual means. The defining feature of immersive art installations lies in their ability to provide visitors with a meticulously designed, multisensory environment.

On top of their visual aspects, immersive art displays often integrate a blend of auditory elements, tactile sensations, vibrations, and even fragrances. As an illustration, "Vibrations: A Sound Experience," crafted by MJ Caselden and Derek Hoffend, used sound, vibrations, and magnetic forces to encourage visitors to explore heightened states of consciousness.

Immersive Art

Impressionism is an artistic movement that emerged in France in the 1860s, capturing ‘on-the-spot’ moments and the transient effects of sunlight.

Rather than painting inside a studio, the Impressionists discovered they could better capture the ephemeral and ever-changing sunlight by swiftly working outdoors, directly in front of their subjects — a practice known as ‘en plein air’ (in the open air). This approach heightened their sensitivity to light, colour, and the constantly shifting aspects of the natural environment. Their brushwork became swift and fragmented, consisting of distinct dabs, aimed at conveying the fleeting nature of light.

Impressionism

Installation art revolves around crafting an aesthetic or sensory experience within a specific setting, frequently encouraging active participation.

Installation artworks, sometimes referred to as 'environments,' frequently encompass an entire room or gallery space, necessitating the spectator to traverse it for full engagement with the artwork. Nonetheless, some installations are intended for contemplative perusal or are delicate to the extent that they can only be observed from a doorway or one end of a room. 

What distinguishes installation art from sculpture or other conventional art forms is its emphasis on delivering a cohesive, unified encounter, as opposed to presenting isolated, individual artworks. Installation art prioritises the viewer's experience and strives to deliver an immersive and impactful encounter, making it a central theme within this artistic genre.

Installation Art

Intaglio includes printing and printmaking methods where the image is engraved or etched into a surface, and the incised areas retain the ink.

Intaglio is a broad term encompassing various metal-plate printmaking techniques, such as etching, drypoint, engraving, aquatint, and mezzotint. Derived from the Italian word ‘intagliare’ (to incise or carve), intaglio printing involves incising lines or areas below the plate's surface. Printing relies on a press's pressure to push damp paper into these incised lines or areas to pick up ink.

Intaglio Printing

Interactive art refers to artwork that relies on the engagement and involvement of an observer.

Interactive art emerged in the late 1950s as artists sought to create more inclusive and welcoming spaces for their work. They began using everyday places like streets, warehouses, and shop fronts to display their art, making it more engaging and accessible.

These artists designed sculptures that people could touch and play with. For instance, Niki de Saint Phalle created the enormous Golem sculpture in Rabinovich Park, Jerusalem, which included a children's slide. 

Interactive art also extends into the realm of computer-based art, where participants interact with technology arranged by the artist, as seen in the public works of Rafael Lozano-Hemmer. It's closely linked with the concept of relational aesthetics, emphasising the social and interactive aspects of art.

Interaction Art

Kinetic art is a form of art that relies on movement to create its impact.

Kinetic art includes artworks across various mediums that incorporate visible movement perceivable by the viewer, or rely on motion to achieve their artistic effects. One of the earliest manifestations of kinetic art can be found in canvas paintings that extend beyond the traditional two-dimensional plane, introducing multidimensional movement into the artistic experience.

These pioneering works not only engage the viewer's visual senses but also challenge the conventional boundaries of static art by introducing dynamic elements. By doing so, kinetic art invites observers to explore a more immersive and interactive relationship with the artwork, as they become active participants in the experience, responding to the ever-changing visual dynamics created by movement. This dynamic quality adds a fascinating dimension to the art form, making it a captivating and evolving journey for those who encounter it.

Kinetic Art

Land art is creating art directly within the natural landscape, typically shaping the land itself to form earthworks with natural elements.

Land art, often referred to as earth art, was typically recorded through artworks consisting of photographs and maps, enabling artists to display them in galleries. Additionally, land artists would transport materials from the natural landscape into the gallery, employing them to fashion installations within the indoor space.

Land art emerged as a significant component of the broader conceptual art movement during the 1960s and 1970s. One of the most renowned land art creations is Robert Smithson's 1970 Spiral Jetty, an earthwork extending into the Great Salt Lake in the United States. While some artists, like Smithson, employed mechanical earth-moving machinery for their creations, others pursued more understated and fleeting interventions in the natural landscape. For instance, Richard Long achieved his artistic expression by merely walking back and forth until he left a mark in the earth.

SPENDING THE DAY ON A STONE (Pink)

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