Debra Baxter

April 16, 2011 § Leave a comment

I found the webpage of an artist who creates jewellery with crystals and crystalline sculptures and objects, like the one in the picture above.

On her website, there’s a link to DB/CB on tumblr.


Den belägrade staden

January 23, 2011 § 4 Comments

Someone gave me this book  – Den belägrade staden – for Christmas. It contains prints of charcoal / graphite drawings made by a Swedish artist, Mattias Fagerholm. I hadn’t heard of him before, or seen these works, so the book was a really nice surprise.

The artist was given the opportunity to partake in a polar expedition to Antarctica in 2002. Many of my favourite images of the book are the ones in the chapter called “Antarctica”, like the ones in the photo below  (“Fitzroy” and “Antarctica II”). Visually, these two images remind me of old Japanese woodblock prints (Ukiyo-e), and how mountains and waves are rendered in those prints. But the atmosphere, compared to ukiyo-e, is different. Frozen, darker, more menacing.

I like his architectural drawings a lot, too, like the ones shown below (“Hamnen” and “Container 2”). There’s a dream-like quality in them; like a nightmare in black and white, in slow motion, where the only audible sounds are muted and low.

This is the artist’s website:

The Effects of Fear

October 19, 2010 § Leave a comment

Nicolas Poussin: Landscape With A Man Killed By A Snake (1648)

Landscape with a Man Killed by a Snake is by some described as “a study of fear”. In fact, another title that has been used for this painting is The Effects of Fear. Poussin has created a scene where theatrical gesturing, poses and facial expressions creates a drama taking place in this otherwise serene landscape. The way the figures have been placed, and how the landscape have been constructed creates a diagonal movement in the painting, showing the workings of fear.

There is another way to look at how space is constructed here. The drama that has been described is connected to a diagonal movement on a horizontal axis: From the corpse and the snake in the foreground, via the terrified man and frightened woman, to the oblivious or indifferent fishermen in the background.

Looking at the vertical axis, however, we could regard the water surface as a divider between above/below. The mirroring water surface becomes a divider between the visible world above the surface, and the invisible below. The serpent, a harbinger of death, crawling over the corpse, could be seen as coming from the realm below the surface, from the underworld. The dead man is already on his way down to the underworld; lying next to the water he is “in between”, his body is still above ground, but his arm and his leg are partly submerged in the water, crossing the boundary between the world above and the realm below.

The reflecting water surface, both hiding what’s below and creating an inverted world through mirroring, becomes a reminder of that which is hidden or invisible, yet always present.

See also:

Snakes, Serpents

Velázquez: Mercury and Argus

September 18, 2010 § Leave a comment

Mercury and Argus by Velázquez

There is a tension in Velázquez painting Mercury and Argus, that stems from the sense of reality that the painting emits, a sense of being-there, being-in-the-moment. “Waiting for Death” we are in the moment just before the fatal blow is dealt. Is Mercury hesitant, contemplating the action he is about to make, or is he just lowering his head to check if Argus is asleep so that he can go ahead and make his kill? Their bodies are mirroring each others positions; it is as if they were locked together in a perpetual danse macabre. Svetlana Alpers writes, in The Vexations of Art: Velázquez and Others, that the two figures in the painting, the killer and the victim, are modelled after the same sculpture, the Dying Gaul. The body expression of the statue is a Pathosformel for suffering and death. Being conceived from the same single model, one could say that killer and victim, Hunter and Hunted, are one and the same; here, the source of death wears the same guise as the one who is about to die. Alpers also points out that the two figures becomes equals, being on the same level, and being modelled from the same source. Showing Mercury and Argus as equals is something makes this painting different from other renditions of the same myth, where Mercury often is showed as more of an executioner than an assassin, and placed in a position that makes him overshadow Argus.

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