Making a Mural, Starting with a Pool

Of his artistic process, mural artist James Bullough says, “Every wall is a slightly different process…I normally start with the dark areas and work toward the light areas and just kind of move like a printer from one section of the painting all the way down.” Read more about the mural, and parts one and two of a larger interview with Bullough.

Spotlight on Intersections@5: Xavier Veilhan

The Phillips celebrates the fifth anniversary of its Intersections contemporary art series with Intersections@5, an exhibition comprising work by 20 of the participating artists. In this blog series, each artist writes about his or her work on view.

Veilhan_Sitting Nude

Xavier Veilhan, Sitting Nude, 2000. Jet print mounted on aluminum, 63 x 47 1/4 in. Gift of the artist, 2013

Sitting Nude is a self-portrait in a somewhat melancholic, dark lighting. The pose recalls a classical archetypal representation of the sitting nude, like Rodin’s The Thinker. It is part of a series of portraits of individuals and couples. Some are dancing, others are fighting. Some are just resting and contemplating, like this piece. It is something I have continued to explore with other nudes, like the ones presented in my show Music at Galerie Perrotin in Paris (March 2015). More than anything else, the focus lies on the silhouette. I believe that the psychology of the human representation in art also comes from the way the figure is standing or the way the body is installed in a certain position, and not only from the face, as is the case in the more traditional psychological portraiture. This doesn’t, however, mean I don’t look for expression. Although Sitting Nude is related to a generic idea of the human body, it also refers to something specific; in this case, myself. The melancholy of the image is more related to an assumed and manifested ethic for beauty.

Xavier Veilhan

Spotlight on Intersections@5: Jae Ko

The Phillips celebrates the fifth anniversary of its Intersections contemporary art series with Intersections@5, an exhibition comprising work by 20 of the participating artists. In this blog series, each artist writes about his or her work on view.

Ko_installation view

Installation view of the Intersections@5 exhibition, with Jae Ko’s Black #22, 2014; Black #23, 2014; Black #24, 2014 at right. Photo: Lee Stalsworth

I wanted to make a reduction in scale from my large paperwork, and as we all know when we reduce the scale of large objects, detail is increased. What I’ve done here is a very large reduction resulting in a very large introduction of hyper detail. The vinyl has allowed me to introduce this hyper detail by its flexibility; I am able to form, bend, and cut it to achieve a state of detail that is unattainable at a large scale. In addition to the change in detail there is an obvious change in form, from biomorphic to rigidly geometric…I enjoy playing with these disparities.

Jae Ko