Clarinda Carnegie Art Museum Home of Art on the Fly 300 North 16th Street Clarinda, Iowa 51632 712-850-1175 phone 712-435-0007 cell visitccam.com – The Millinery / studio : 107 Main Street from October 9 till november 14 2024
Looking for connections… is the seed of the idea of the experience I am looking for during this residence. Connections between me you here and there, executed with classic materials and techniques but above all a strong as possible concept and Historical European sources and references.
I will be in Clarinda IOWA with my fellow artist Peter Poplaski in the course of October 9th till November 14th 2024. “Looking for connections”… is the seed of the idea of this artistic experience at the residence. I will invite others to interact with my work and help create an imaginary landscape made from added fragments, like pieces of a big puzzle. As artists we have traveled to many countries together in the USA and Europe over the past 20 years. We gathered a wealth of outlooks on the world witch introduced us to a vast range of truly differing perceptions, felt ideas, and knowledge. Being able to take part in local and global exchanges has profoundly affected the artworks that I make, driving me to create art that I hope touches people everywhere.
I am sure anything can happen if you give free possibilities to an artist and the responsibility to give young creative people the possibility to be taking part of that flow. Imagine a wave. Surely you know once a wave took shape it cannot be stopped until it fulfilled its flow. There is freedom in that.
Artist in residence CONTACT: Trish Bergren director at Clarinda Carnegie Art Museum Home of Art on the Fly 300 North 16th Street Clarinda, Iowa 51632 712-850-1175 phone 712-435-0007 cell visitccam.com
Work space = The Millinery 107 Main Street Clarinda
This exhibition is the result of roughly ten years of work, wanting to prove to myself that I was capable of pulling this off. After drawing from life in my sketchbooks was no longer enough, I needed to paint. Just like when I’m drawing outside I wanted to give my brushstrokes similar free and spontaneous gestures and writing. Some landscapes are reworked using my sketches as model or my imagination in the studio.
Cette exposition est le résultat d’une dizaine d’années de travail, voulant me prouver que j’étais capable d’y parvenir. Après que dessiner sur le vif dans mes carnets de croquis ne me suffisait plus, j’avais besoin de peindre. Tout comme lorsque je dessine à l’extérieur, j’ai voulu donner à mes coups de pinceau des gestes et une écriture libres et spontanés. Certains paysages sont retravaillés en utilisant mes croquis comme modèle ou mon imagination en atelier.
L’homme à créer un mode de vie qui le rend esclave. Il a créé la notion de biodiversité comme commodité. Il s’est fait prendre à son propre jeu. Comme on le voit dans l’épopée de Gilgamesh, les hommes ont toujours essayé d’entretenir des illusions pour se protéger de vivre avec l’angoisse de leur existence momentanée. La nature qui est capable de régénération n’en garantit pas celle de l’humain. Face à l’énormité de la question de notre place, oui ou non dans cette vaste univers, la réponse est peut-être dans la noirceur de Les modernes de Leconte de Lisle. Ou dans, La poule aux oeufs d’or, une des fables de La Fontaine. Mais je ne peux pas m’empêcher de voir des lueurs d’espoir et de courage, qui sont aussi la nature de l’homme et donc de l’univers et l’univers est dans sa nature transformation. Le courage du bien mènera au changement. L’homme créateur qui ce crois seul fassonneur de son histoire, L’Homo Deus, devenue humble, confronter au simple fait qu’il vie sur une boule au milieu de l’infiniment grand. Et s’ il veut en être maître, il doit s’y perdre en pure énergie.
Man created a way of life that enslaves him. He created the notion of biodiversity as a commodity. He got caught at his own game. As we see in the epic of Gilgamesh, men have always tried to entertain illusions to protect themselves from living with the anguish of their momentary existence. Nature, which is capable of regeneration, does not guarantee that of humans. Faced with the enormity of the question of our place, yes or no in this vast universe, the answer may lie in the darkness of Les Modernes of Leconte de Lisle. Or in, The Hen with the Golden Eggs, one of La Fontaine’s fables. But I can’t help but see glimmers of hope and courage, which are also the nature of man and therefore of the universe and the universe is in its nature transformation. The courage of good will lead to change. The creative man who believes himself to be the only shaper of his history, L’Homo Deus, who has become humble, confronts the simple fact that he lives on a ball in the middle of the infinitely large. And if he wants to be master of it, he must lose himself in pure energy.
Aline Kominsky-Crumb (1948–2022). artist passed away Wednesday, November 30, in the south of France.
Since 1971, Kominsky-Crumb, wife and mother of artists R. Crumb and Sophie Crumb, respectively, had been a pioneering figure in the world of comics, well-known for her confessional mode of storytelling and expressionist-inspired drawing style. She was one of the first contributors to the all-female anthology Wimmen’s Comix in 1971; cofounded the seminal comics series Twisted Sisters in 1976; and, in the 1980s, served as editor for the influential alternative comics anthology Weirdo. We will all miss Aline deeply.
ATELIER 8BIS rue des Bourgades avec Peter POPLASKI 10-12H & 15-18H30
SAUVE OPEN STUDIOS with drawings and paintings by Rika DERYCKERE & Peter POPLASKI at Studio 8bis rue des Bourgades.
La figure humaine a longtemps été mon seul motif, avec le paysage en derrière plan.
Certainement à cause de mon éducation artistique dans les années 70-80 ou le focus était l’abstraction et conceptuel, le paysage était considéré comme étant “ringard”. Et à un moment donné le paysage avait été quasiment banni du répertoire de la peinture contemporaine. Pourquoi? Ce sont au contraire, pas la nature, mais les représentations qui sont considérés ennuyeux. La nature n’ennuie jamais, n’est ce pas. Il y a des sujets inépuisables dans la nature. Et en observant, on n’arrête pas de voir de plus en plus.
Je suis très sensible à la beauté. Nous en avons besoin. La beauté n’est pas complexe. Je suis sensible à la nature qui n’est jamais au repos. Elle change constamment. C’est le pouvoir de la nature qui nous parvient à travers les couleurs, les contrastes et ses sensations. La nature est vivante, consciente, affirme sa présence, et quand tu ressens quelque chose très puissamment tu ne peux pas l’échapper;
J’éprouve de la joie et de l’amour à peindre et dessiner. Mais aussi une bonne dose de frustration, même parfois bouleversante. Consciente de la difficulté du challenge que je m’impose. Cela dit, il m’est important de continuer à me remettre en question.
Pas tout sera une réussite. Mais le travail progresse. Avec des moyens simples et divers, pour prendre le temps. Le temps de rêver aussi.
THE INTENSITY OF NATURE The human figure has long been my only motif, with the landscape in the background. Certainly because of my artistic education in the 70s-80s where the focus was abstraction and conceptual, the landscape was considered to be “cheesy”. And at one point the landscape had been almost banished from the repertoire of contemporary painting. Why? On the contrary, it is not the nature, but the representations which are considered boring. Nature is never boring, is it? There are inexhaustible subjects in nature. And as you watch, you keep seeing more and more. I am very sensitive to beauty. We need it. Beauty is not complex. I am sensitive to nature which is never at rest. It is constantly changing. It is the power of nature that reaches us through colors, contrasts and its sensations. Nature is alive, conscious, affirms its presence, and when you feel something very powerfully you cannot escape it; I experience joy and love in painting and drawing. But also a good dose of frustration, even sometimes overwhelming. Aware of the difficulty of the challenge that I impose on myself. That said, it is important for me to continue to question myself. Not everything will be a success. But the work is progressing. With simple and diverse means, to take the time. Time to dream too.
This artist in residence is not very far from where I live, in search of a total emerging in the Pic Saint Loup landscapes around Saint Mathieu de Tréviers.
Two living(!) artists are constantly on my mind: David Hockney, yes. And even more so Vincent Bioulès. I will be at Maison d’Emma for six weeks. Open to the public every Sunday afternoon. Come bye if you like, to see the developing artworks. Starting from rough sketches into a finalized art assemblage. Sunday 27 November presentation of the finalized project at 6pm followed by a buffet.
En français: Jusqu’au 30 novembre, en résidence à la Maison d’Emma. J’ouvre son atelier tous les dimanches de 14h à 18h30. Dimanche 20 novembre, à partir de 17h, présentation de mon film « A l’origine des impressions ».
Dimanche 27 novembre, restitution du projet de résidence à 18h suivi d’un buffet.
OAF Curated Space by Aline Kominsky-Crumb & Dan Nadel
OUTSIDER Art Fair 2022 Atelier Richelieu PARIS 15 – 18 09 22
La galerie Vidourle prix a le plaisir de vous accueillir à la foire d’art outsiderartfair 2022 Paris. Curateurs Aline Crumb et Dan Nadel avec la participation de dix artistes permanents de la galerie du 15 au 18 septembre à l’Atelier Richelieu:
Sophie Crumb, Solenne Capmas, Kian radpouyan, Laure Boin, Rika Deryckere, Peter Poplaski, Roger Katan, Nils Bertho, Janice.Rahn, Sebastien Beurp.
