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My work explores the relationship between consumerist fetishism and life as performance.
With influences as diverse as Derrida and L Ron Hubbard, new insights are created from both mundane and transcendant discourse.
Ever since I was a student I have been fascinated by the ephemeral nature of the universe. What starts out as triumph soon becomes corrupted into a hegemony of greed, leaving only a sense of failing and the dawn of a new understanding.
As intermittent phenomena become frozen through studious and academic practice, the viewer is left with an insight into the limits of our condition.
Base theme by DesignModo & ported to Powered by Vanilla by Chris Ireland, modified by the "theFB" team.
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Bandcamp
Spotify, Apple et al
There was a bit of a pause and then someone said "So... you're a dancer?"
He got in a tremendous huff.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Twisted Imaginings - A Horror And Gore Themed Blog http://bit.ly/2DF1NYi
Then, at the end of the evening she told us to take bits from each piece and make one bit of art that encapsulated the whole evening. Most of us played along but thought it was a bit pretentious, but this one knob end threw the contents of the salt packets and a couple of flapjacks on various tables around the room, and then explained that it was an "installation" of site into sound and the salt represented... Blah blah blah. I actually wanted to punch the tosser and then shove the salt down his japs eye. What a prick!
My Trading Feedback | You Bring The Band
Just because you're paranoid, don't mean they're not after youBut art-speak? It's as sterile as the "business-speak" on another thread.
Cutting down the verb count and using a load of slightly obscure nouns doesn't confer any extra insight to banal ideas.
Say it simply.
Nomad Zamani is an artist who mainly works with painting. With a subtle minimalistic approach, Zamani creates work through labour-intensive processes which can be seen explicitly as a personal exorcism ritual. They are inspired by a nineteenth-century tradition of works, in which an ideal of ‘Fulfilled Absence’ was seen as the pinnacle.
His practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of painting: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. By exploring the concept of landscape in a nostalgic way, he creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used.
His works establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. By referencing romanticism, grand-guignolesque black humour and symbolism, he investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination.
His works are often classified as part of the new romantic movement because of the desire for the local in the unfolding globalized world. However, this reference is not intentional, as this kind of art is part of the collective memory.
For example...
Of course.
Nomad
Nobody loves me but my mother... and she could be jivin' too...