Showing posts with label Ryan Schroeder. Show all posts
Showing posts with label Ryan Schroeder. Show all posts
Relearning How to Exist
Our ability to function through known means has been removed, and the result is a sort of ontological shock. Even the simplest elements of life become a phenomenon, and we are essentially relearning how to exist.
In the text, Being and Time by Martin Heidegger, dealing with the nature of existence is explored; "Being cannot be grasped except by taking time into consideration, the answer to the question of being cannot lie in any proposition that is blind and isolated". As we experience life in China we can only open ourselves to the supreme novelty of the residency. Our experiences do not need to be made sense of in the moment, but rather, this is an opportunity to gather information. To truly understand something one must surrender preconceived notions about what could or should happen. One must simply Be and experience life as it is in the moment, and only in hindsight, we can reflect upon what we learned.
In the text, Being and Time by Martin Heidegger, dealing with the nature of existence is explored; "Being cannot be grasped except by taking time into consideration, the answer to the question of being cannot lie in any proposition that is blind and isolated". As we experience life in China we can only open ourselves to the supreme novelty of the residency. Our experiences do not need to be made sense of in the moment, but rather, this is an opportunity to gather information. To truly understand something one must surrender preconceived notions about what could or should happen. One must simply Be and experience life as it is in the moment, and only in hindsight, we can reflect upon what we learned.
Being here is a wonderful opportunity to learn. One of the most curious aspects that I have found deals with the arrangement of space. Architecture in Shanghai is bold and imposing. Each grouping of buildings appears to be based on one Architectonic model, which is repeated a number of times. The lumping of structures divides the city into a series of rhyming blocks of buildings, which is followed by a vast expanse of flat land that extends forever.
The traditional city of Hangzhou is what one might imagine of China in the early 20th Century to be. We hiked through a bamboo forest to the top of a mountain. We looked down through the clouds to see an impression of the city, and a tea farming town in the distance. While walking the countless steps to the Pagoda atop the mountain, I kept thinking about the overall composition of traditional Chinese ink drawings. In them the viewer experiences space not in terms of linear perspective, but as a holistic impression of how space feels.
One day Wang Yi took us to the opening of "Return to Simplicity", a retrospective of Wu Shanming's work, I realized that climbing the mountain actually felt like the works we saw at the Zhejiang Art Museum. Shanming's oeuvre was comprised of variations of wash drawing techniques. He answered questions regarding the use of color as a compositional device, where to crop an image, where to simplify, and where to allow the abstract nature of the medium to flow, for the sake of creating an image that is captivating and sensitive. 
China is a land of many joys, such as the pleasure of truly getting to know fellow residents, as people and as Artists. Our weekly critiques have been challenging at times, and yet because of the respect we have developed for each other, and because of the fact that we are all mutually invested in the success of the other's work, positive changes are happening in the studio. This residency has benefited us not only in studio time, and cultural learning, but also in the freedom to sit and read. I find myself reflecting on a quote by Nietzsche, in Thus Spoke Zarathustra, "You teach that there is a great year of becoming, a prodigy of a great year; it must, like a sand-glass, ever turn up anew..." The challenge understanding a place so detached from Western Culture is that we are forced to rethink ourselves, not just as the character we know ourselves to be, but as artists, whose work is eternally evolving, influenced by our surroundings and stimuli.
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On May 26, four Academy ventured to Shanghai, China to participate in a six-week residency. Tamalin Baumgarten, Dana Kotler, Arcmanoro Niles, and Ryan Schroeder (all members of the MFA class of 2015) will share their experiences here throughout the summer.
Looking at the Inside - Class of 2015 Interviews (part one)
Recovering from first semester finals - I think everyone agrees, it was
very intense! Right?!.. [Laugh]… However Christmas is a perfect time to
reflect on the past three months and meditated upon how much was done in our first
semester. An uphill battle for students and faculty - excuse the phrase - a
double 'high-five' is well deserved.
For the First Years the past semester felt like a
'boot-camp,' reviewing and pushing our technical skills to the limit, creating
work that was both contemporary in discourse, while based on traditional
skills. Deliberately challenged not only by practical knowledge but also
through the capacity to improve our artistic instincts. While watching the
Second Years' exciting progress towards their mid-year critiques. The quality
of work created was amazing. Closely
admired, meticulously and carefully analyzed by all the faculty and students.
As promised, I interviewed some of the Academy’s Class of
2015 to share their oeuvre and the interesting background that each of them come
from. I’ve had the pleasure to get to
know, share ambitions and mutual passions with each this fall at the Academy.
I asked them a few simple questions:
What inspires your
work? And who are you inspired by?
Manizales, Caldas. Colombia
Pontificial Javeriana University
Being an artist for me means to able to communicate through
something as simple as representation and interpretation of an image. The
process to get to representation is not simple at all, and I'm never pleased
with the result. My process includes a method of gratuitous development, which
allows the brush to meet the canvas and freely let the image search for itself.
Most of the time a Phenomenological approach is present, which express a
feeling of the material used and the observed object, letting it be felt.
I prefer to let the brush do its work. Seeking for
expressiveness the hand guides the brush through aggressive and passive
movements conducted by the artist hand. It excites me to observe a symphony on
the surface, made by rough materials such as paint and canvas. My painting is
about letting it "Be a Painting," relationships between marks, tones,
planes and form.
If I think about a painting it would be "Harbor of
Trieste" by Egon Schiele. One can observe
how much excitement he had with shapes and harmony presented in the work. Joaquin Sorolla is someone who's oeuvre I
always recall, I'm fascinated by his intent of expressing so much with minimal
mark-making
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| Work by Esteban Ocampo Giraldo (MFA 2015) |
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| Work by Esteban Ocampo Giraldo (MFA 2015) |
West Bloomfield, Detroit, Michigan
The College for Creative Studies
Wayne State University
Los Angeles Academy of Figurative Art
I like the idea of taking something shallow or superficial
and cramming it together with the opposite.
I try to create paintings in a way that embodies that idea. Typically I paint portraits of people by
layering strokes of paint upon paint in a way that reveals all layers of the
process. I think of each stroke as a cut
or a scar. To me each stroke of paint is
like a memory that contains both physical and emotional content. When viewed from a distance the paintings
look more like an illusion of a person’s superficial appearance. When viewed from close up the paintings lose
their superficial, illusionistic quality and become abstracted into layers of
lines and colors that I label as being that person’s non-physical content, or
all the things that make us who we are minus the superficial, physical crap.
A friend recently introduced me to Tomory Dodge. I like the trajectory of his body of work.
There isn't one piece I necessarily like more than another. I like how I can
look at his pieces and see how his previous ideas have influenced his recent
ideas.
-1.jpg) |
| Work by Eric Pedersen (MFA 2015) |
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| Work by Eric Pedersen (MFA 2015) |
Rochester, New York
Maryland Institute College of Art
I paint because I feel compelled to. I am interested in the
transient nature of the experience of life, and I make images as a means of
contemplating where I am in my life, in a physical and metaphysical regard. My
work operates as a relic of a felt experience. My oeuvre, broadly speaking,
deals with complicated relationships, ideas of isolation, abandonment, and the
illusion of time. I am interested in people, spaces and objects as individuals,
each possessing a unique presence and aura. I seek to capture the psychic
qualities of the figure, or a space; and I find that spaces that are defined by
detritus and decay possess a stillness that is most conducive to capturing the
sensation.
My work would probably fall within the genre of perceptual,
or representational painting. I am interested in the tradition of interpreting
the plastic world as a conduit to address my conceptual concerns. Abandoned
spaces, in particular, serve as a muse for me, because I think they are a form
of contemporary memento mori, and
also because I find the energy of the void quite interesting. My work tends to
be de-saturated, or operates within a predominantly tonal framework. I use
color selectively because I find in doing so the work visually changes volume -
loud moments of color, in contrast to the quiet of a cooler monochromatic
pallet.
The painting I think about most often is The Dinner, by Antonio Lopez Garcia.
I find his decision to elongate the head of the human form on the right quite
surprising. The visual variety of moments of collaged photos peppered
throughout the painting creates an interesting dialog between the highly
rendered trompe l’oeil. Pentimenti are visible through the more translucent
chapters of the painting, which offer insight into the artist's process of
continually reworking the form to find a greater truth about observation.
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| Work by Ryan Schroeder (MFA 2015) |
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| Work by Ryan Schroeder (MFA 2015) |
Bronx, New York
Long Island University, BFA, Digital Art
Most of my work is autobiographical. I'm inspired by my
friends, family and everyday life of growing up in New York/Dominican Republic
culture. I intend to recreate intimate moments of my life captured by
camera. Merely using photography and
paint as transcendental conduit. This process allows me to relieve the moment
in a purging process of transformation. My methodology consists of the belief
that the artist and her life are integrated.
Some of my process is composed of shoot, print, paste,
paint, scan, paint and repeat until the primary mechanic image is lost.
Sometimes, replacing the traditional canvas, there is a necessity to
incorporate found objects to carry the picture. Through this process I am
examining/exploring/re-creating my past and present. Using photo as an object
to create art that exemplify transformation. Past and present experiences take
on a new physical form.
Recalling the first painting that ever inspired me to create
art was Vincent van Gogh's Starry Night. I remember being seeing it for the first time at MoMA, going home and
replicating it as best as I could. I remember standing in front of the painting for almost
an hour and staring at the whimsicalities of every stroke on the canvas. Anselm Kiefer is
another painter who paints in a similar way.
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| Work by Jehdy Ann Vargas (MFA 2015) |
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Camila Rocha (MFA 2015) will be blogging here throughout the year about her first
year at the Academy and moving to New York City. Check the label "First Year Experience" or "Camila Rocha" for more posts about her first
year at the Academy.
If you have any questions for Camila, please leave them in
the comments section of the blog.
All images are courtesy of each artist.
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