Art Sensibilities
I just learned of an artist who is now among my favorites. His sensibility meets my own in several ways. Pol Turgeon
My own sensibility usually gravitates toward the following. I always enjoy a merging of mechanics including automata; masks and expressiveness or containment of expressiveness; homunculi or almost complete but somewhat soulless bodies, or bodies in stasis—including puppets and characters from The Commedia Del'Arte—all alienated figures resembling humanity while not quite achieving complete humanity and often at odds with themselves and/or their environment; anatomy and other symbology from the natural sciences as well as from linguistics. I especially enjoy these combinations if the piece also has elements of 16th century sensibilities.
I strive to include these elements in my own work too. All of these elements speak to a sort of alienation with our own bodies and beings, yet also to the complicated nature of our own workings and of our own selves. I like that by combining elements from the natural sciences, machinery and humanity expression naturally emerges of the fine line between our complexity and our fragility/ our undeniable presence and functionality against our alienation, awkwardness and mortality/ the absurdity of our lives against the structural integrity of our lives.
...Sometime soon, when I'm a bit more settled, I do hope to be able to resume sculpting and creating.
Not all Turgeon's images work well for me, but check out especially his Justice card and this onethat to me almost looks like an homage to Frida Kahlo.
Other artists I favor that jump to mind readily are James Groleau, Odd Nerdrum, George Tooker, Paul Delvaux, and E.J. Taylor, Hieronymus Bosch, The Codex Seraphinianvs, and Fritz' Lang's art direction in Metropolis, though there are so many many more.
Note to Nameless Daughter: Expression is essential as an attempt to come to terms with life
My own sensibility usually gravitates toward the following. I always enjoy a merging of mechanics including automata; masks and expressiveness or containment of expressiveness; homunculi or almost complete but somewhat soulless bodies, or bodies in stasis—including puppets and characters from The Commedia Del'Arte—all alienated figures resembling humanity while not quite achieving complete humanity and often at odds with themselves and/or their environment; anatomy and other symbology from the natural sciences as well as from linguistics. I especially enjoy these combinations if the piece also has elements of 16th century sensibilities.
I strive to include these elements in my own work too. All of these elements speak to a sort of alienation with our own bodies and beings, yet also to the complicated nature of our own workings and of our own selves. I like that by combining elements from the natural sciences, machinery and humanity expression naturally emerges of the fine line between our complexity and our fragility/ our undeniable presence and functionality against our alienation, awkwardness and mortality/ the absurdity of our lives against the structural integrity of our lives.
...Sometime soon, when I'm a bit more settled, I do hope to be able to resume sculpting and creating.
Not all Turgeon's images work well for me, but check out especially his Justice card and this onethat to me almost looks like an homage to Frida Kahlo.
Other artists I favor that jump to mind readily are James Groleau, Odd Nerdrum, George Tooker, Paul Delvaux, and E.J. Taylor, Hieronymus Bosch, The Codex Seraphinianvs, and Fritz' Lang's art direction in Metropolis, though there are so many many more.
Note to Nameless Daughter: Expression is essential as an attempt to come to terms with life
posted by Pearl Pocock | 9:08 PM
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