looks real good ashley abstract ends come from ultra sensitive ultra understanding - exact
in this way abstraction is real just a type of meta-realism. good abstraction anyway
mine and mind these for the sub-stance hone the blunt mind/eye and watch what you understand
i like egg inside egg with inside black this tunneling in like this and words with point is a nice thing, brings this into lifts some fog and gives maybe even discreet mental direction guides me a bit more even still illusive
not knowing you or your work, I'm apprehensive to say too much lest I read too much of myself into the work. What size is the work? It's intimacy or grandiosity would be important in me determining how it makes me feel, or what it makes me think about. Anytime work deals with voids, and a lack of color, I can't help but think about Bontecou, though this work is clearly different. I'd also be interested to know whether the two other works that led to the first are studies, or are meant to have the same level of importance as the third work. Maybe then I can say more.
Ian, I can understand where you're coming from but with the requests you've made it seems you desire to imagine something that you aren't even experiencing. You are looking at the works on a computer screen, at the size they are, as they are brought to you right now, that's what matters. If you want to ask the real size than you'd have to ask the material and the space they might inhabit and the lighting within that space and so on. But that isn't the point of this experience. The beauty is you are unfamiliar with this artist and her work. Of course every work effects us differently when seen in person versus on a computer, or in a book, or when described to us by someone else.
In that case, this work seems to say something about the body, birth, and death. Egg inside Egg with Inside Black gives me that immediate reading. Then realizing it's from a woman artist again gives me allusions to the womb. Also, the simplicity and icon-like composition of the top work, as well as the use of concentric circles in the composition...anyways, that's what I'm thinking about, but maybe I'm reading too much into it.
i think the platform in which this work is displayed (like dave said) is were confliction might happen. for me, im naturaly drawn to the surface, the material. so i enjoy the third pic. i'll leave the analysis of adstraction up to you painters.
Seeing these three pieces together is interesting since most of Ashley's work is so different. It amazes me how she balaces spaces that are subtle and raw at the same time. And seeing these monochromatic pieces is interesting since she is a really, really good colorist.
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somebody tell me something about this work.
ReplyDeletethanks,
ian
the second led to the third and the third led to the first.
ReplyDeleteIan, what is your first impression?
ReplyDeletelooks real good ashley
ReplyDeleteabstract ends come from
ultra sensitive ultra understanding - exact
in this way abstraction is real just a type of meta-realism.
good abstraction anyway
mine and mind these for the sub-stance
hone the blunt mind/eye
and watch what you understand
i like egg inside egg with inside black
this tunneling in like this
and words with point
is a nice thing, brings this into
lifts some fog and gives maybe even
discreet mental direction
guides me a bit more even still illusive
gogogogo
not knowing you or your work, I'm apprehensive to say too much lest I read too much of myself into the work. What size is the work? It's intimacy or grandiosity would be important in me determining how it makes me feel, or what it makes me think about. Anytime work deals with voids, and a lack of color, I can't help but think about Bontecou, though this work is clearly different. I'd also be interested to know whether the two other works that led to the first are studies, or are meant to have the same level of importance as the third work. Maybe then I can say more.
ReplyDelete-ian
Ian, I can understand where you're coming from but with the requests you've made it seems you desire to imagine something that you aren't even experiencing. You are looking at the works on a computer screen, at the size they are, as they are brought to you right now, that's what matters. If you want to ask the real size than you'd have to ask the material and the space they might inhabit and the lighting within that space and so on. But that isn't the point of this experience. The beauty is you are unfamiliar with this artist and her work. Of course every work effects us differently when seen in person versus on a computer, or in a book, or when described to us by someone else.
ReplyDeleteIn that case, this work seems to say something about the body, birth, and death. Egg inside Egg with Inside Black gives me that immediate reading. Then realizing it's from a woman artist again gives me allusions to the womb. Also, the simplicity and icon-like composition of the top work, as well as the use of concentric circles in the composition...anyways, that's what I'm thinking about, but maybe I'm reading too much into it.
ReplyDeletei think the platform in which this work is displayed (like dave said) is were confliction might happen. for me, im naturaly drawn to the surface, the material. so i enjoy the third pic. i'll leave the analysis of adstraction up to you painters.
ReplyDeleteSculptors can analyze painting too! ;) ...or overanalyze, as is usually the case, hah.
ReplyDeleteSeeing these three pieces together is interesting since most of Ashley's work is so different. It amazes me how she balaces spaces that are subtle and raw at the same time. And seeing these monochromatic pieces is interesting since she is a really, really good colorist.
ReplyDeleteI love this
ReplyDelete