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Page with markings by Cy Towmbly, from C.P. Cavafy, Collected Poems
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Cy Twombly, Mars and the Artist, 1975
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"Cy Twombly Somehow" de Marie Chouinard par les Ballets de Monte-Carlo © Alice Blangero
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Free The Roses
“I hate roses,” Twombly told Vogue in a second profile, this one at a Gaetan villa, in 1994. “Don’t you? It’s all right if you can hide them in a cutting garden, but I think a rose garden is the height of ick.” Vogue must have concurred, because by the time of my white suburban prom in Southern Ontario, a chronotope not rife with sophistication, everyone knew a corsage or spray of roses was embarrassingly formal, too dressy, overdetermined. A chill girl wanted a silver heart necklace from Tiffany, and later in the 2000s, living under the shared aesthetic of Marc Jacobs and Sofia Coppola, she wanted hand picked bunches of daisies and a white iPod loaded with post-punk. Long-stemmed red roses were about as welcome a gift as an Andrea Bocelli CD, and were used to signal melodramatic irony (see: American Beauty, a movie that can only be rated relative to nighttime soap operas) and to make, depending on the audience, a fun game or borderline mockery (or both) of heteromantic ideation (see: the central schtick of The Bachelor).
--Sarah Nicole Prickett
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Oral presentation script.... saving on tumblr
Script-for the slides
1- Hi Everyone,
I am Lamatul Firdous, Indian born ,New Zealand Artist currently student of BFA (Hon) Whitecliffe Collage of Arts and Design.
Art making process- My process is to work with hands and collect stuffs used/ new, found materials to construct/deconstruct to re- organise them to reflect ideas, I usually like to do more so that I can pull out for final installations rather than struggle with less to do more. The studio space is for me to experiment, make mistakes, thinking, painting and also storing things which can be used later for my art- making.
2- Translation and texts I choose Urdu Poetry text from Allama Iqbal poetry, as a glimpse into unfamiliar languages, how we look at things we do not understand as challenging, upsetting, interesting, opening to new perspectives or surprising to find similarities between many cultures across the world.
In Words of Allama Iqbal Collective Human Aspirations can achieve far greater things rather than being focussed on self- gratification of material stuffs in life, which will make us aimless or to put in another way, lead to wars, climate change and many other issues which will be hard to solve because of complexities.
3- Early works and Asemic text intro- read the slide
4- Asemic Artists- Mirtha Dermisache, Mira Schendel, Leon Farrari, Glen Legon Cecil Touchon and many others has works in Asemic writing. Specks and particles in nature can be seen as free floating text. The dense heavy lines can be that of censoring expressions. It is interesting conversation to work in asemic art.
5- Cy Towmbly selected works are presented to discuss Asemic text, hand written and pattern of texts which refuses to disclose any words or sentences, it shows one has to read in different ways, the hand- written text, movement, rhythm, chalk on board, which can be erased, it draws us into the uncertainty or fragility of hand drawn texts, we are struggling to read hand- written notes as many people are in habit of reading only machine typed- texts. We will need specialised skill to read handwritten books or texts. It also taps into the individualism of the artists hand, we are losing something very important in our haste to facilitate global communication.
6- The book- These images are taken from book by Peter Schwenger,’’ Asemic ;The Art Of Writing.’’ Asemic artists works and ideas are explored, one example presented here is Texts found and written by nature in its vastness, tree barks, ��twigs and grass washed on beaches.
7- Henry Mechaux ‘’ Narration’’ seems to reflecting the texts found in nature. My work is also about going back to the beach and collecting found texts and looking at it from my perspective. It seems to be learning to speak through nature.
8- Xu Bing- Read the slide
9- . Xu Bing’s Book from the Sky- The texts is written as reflection of formal ancient calligraphic scrolls, it is just free flowing text written as protest against the limitations imposed on use of language and freedom of expression.
10- Ancient Egyptian Hieroglyphs to texts used in contemporary times- I have been looking at texts ancient signs and symbols which are also ideas conveyed in shapes of human/ animals and others which we also use in our daily lives to convey the meaning in broader sense. What would happen if we allow all alphabets and languages to mix, to pick and choose, and move freely?
11- Beginning with door panels- It was difficult to start the process of thinking/ doing and I went about collecting stuffs, painting, installing and playing with the ideas of doors and door keeping/ opening/closing.
12- Sharp jigsaw blade as writing tool – Letters and texts of various shapes were cut out with jigsaw blade, one can see the process of making holes and cutting with jigsaw blade,
13- Drawings on the wall- Early drawings on the wall, doors were very limiting.
14- Charcoal texts and cut outs- At this point, I have decided to take the texts forward, so painted the cut-outs in grey, and drew the shapes on the wall I also kept on drawing sound, grass, or letters in Urdu/ English to bring it to my big canvas.
15- Mid-year works- As my work is process driven and kept on changing from colourful to black/ white and focusing more on developing the Asemic quality of text it was already mid-year. I wanted the canvas to be as open to write and paint freely. Black Charcoal was used without fixture as though it is possible to erase, write and rewrite easily.
16- Two Installation- The open canvas and the door panels became my mid-year works, The waves on the wall as liquid and texts floating within them as potentiality to change and re- emerge differently as time goes by. The door panels were painted black with texts cut out to show holes or gaps that can be seen within doors as language slips and flow in spite of hurdles.
17- After mid-year works- I felt more grounded in ideas of working with Asemic texts, more material was collected and got busy in my studio space.
18- Experimenting- two chairs have been deconstructed, painted, jute, beads and golf balls painted, lot of push and pull.
19- Door panels- White chalk on door panels before last good-bye, fabric not working, painted the chairs, applied gold, silver foil, painted beads in blue and decided to repaint…
20- Painted the plastic sheets, experimenting with shadows- Colours are applied on thin plastic sheets, experimenting with tracing the shadow of things, beginning with jute fibre.
21- Dried twigs shadows and grass, sticks- Baking paper has been used to trace and get the shadows off the natural shapes, leaving its marks on my canvas.
22- Coloured sheets and twigs on plastic canvas- Left to dry and found them dripping, quickly laid them on ground to dry Twigs and grass as text on plastic canvas. Long sheets placed on ground to see as Gallery Installation.
23- Experimentation-Plastic sheets are applied colours as first layer, text in black ink as freeing it from its formal shapes.
24- Two Chairs- As two individuals, deconstructed the chairs, so there is no seat to sit, and no back to lean on, the frame stands in steel. It refuses to serve its purpose. The beads, colours, jute, flowers are texts flowing or spreading, Flowers are juxtaposed with steel legs!
25- Form Gallery Installation practice-I installed my work in Form Gallery to have clarity and further development discussed in critique with Yolunda Hickman and Jill Sorensen. It was suggested that it is good idea to look into opening the jute and allowing the beads to spread, scattering … I liked the idea of text-beads spreading by stepping on it by people.
26- Conclusion- to read the last lines.
27- Thank you and questions to answer..
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I’ve come back to Cy Towmbly I always do. Autumn colours and his influence can be seen in some of work responding to my trip to Dunkeld.
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CY TWOMBLY
After reciving the intial brief my instincts were to look futher into the work of Twombly, his use of gestural marks and almost erratic loose lines i felt lent itself to what i was intreasted in exploring within this idea of being in the middle of exhaustion and exuberance.
Towmbly uses medians such as paint and penicil/chalk, which initally i expiremented with on the sheets of scrap pdf. I was influenced and also incorportaed his spradical use of mark making to begin experimentation.
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Cy Twombly, Untitled, 1961
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