What do you expect! I go through my preferred taverns in Mayfair or Shoreditch to find the best drink on offer. It could be an Italian sparkling Prosecco, a french established Champagne - my preferences go to Ruinart - a sponsoring beer brewery, or a cheep wine from the new country, like Chile, South Africa or Australia. The whole idea it to drink for free and get drunk in between, then get home and write words like these one. Objective and unromantic nonsense. If in the process I have some female company, the better, it always make me fell much more confident and reliable of my strength, or else it would be so deadly boring.
I don't believe in much of what people try to sell me, although much of the time I just try to be quite and do not say a word on the subject being discussed. They will disrail on the process. Artists, get away from them, or, then, them away from me! I just prefer bankers, doctors, marketing and PR people, landowners, evening ladies, politicians or Chefs. Much more pleasurable and the conversation, definitely, is much more thoughtful and hell raising.
Truly, in the art world, everything is so deceptive. Appearance is more important than Being. This world is just misleading! More, the art work dynamics' is in to give the wrong idea about someone and to someone, or the wrong impression about something, such as ideas, subjects, objects, etc. It gives the wrong information in order to bring a recognition of our limitations, in particular of one's thoughts. This world, in particular, belongs to a set of potentialities where meaning is genuinely ambiguous, since meaning can be used in similar contexts to mean both one thing and also its complete opposite, as was expressed in a recent conversation between Marlborough Contemporary' director, Andrew Renton, and artist' Jason Brooks, about his paintings done from photographs, which almost look like paintings rather than looking like photographs:
«Andrew Renton: And that finished item… when you stand back from it, does it surprise you? I’m asking because I always wonder how true to your sources you are – whether it’s a series of photographs or a found painting…
Jason Brooks: I’m responding to source material in the way Hockney responds to a landscape. I am not making a painting of a photograph. The goal is the finished work, I don’t judge it by its fidelity to any of its source material. To that end I’m always surprised – sometimes for better, sometimes for worse.»
So, to avoid confusion, I have a suspicious attitude - not nihilist - at the beginning and instead go and look for a better tavern and drink whatever their is to drink, except if it is beer or a lousy creepy wine. If in the meantime I don't learn something new, which will make me unlearn what I have accumulated throughout the last couple of decades of my life, add information and make me rethink about the surrounding structure, i.e., everyday life, it is just not worthy the hassle. In this case the objects on hold at the tavern deserved the drinks drank.
I don't believe in much of what people try to sell me, although much of the time I just try to be quite and do not say a word on the subject being discussed. They will disrail on the process. Artists, get away from them, or, then, them away from me! I just prefer bankers, doctors, marketing and PR people, landowners, evening ladies, politicians or Chefs. Much more pleasurable and the conversation, definitely, is much more thoughtful and hell raising.
Truly, in the art world, everything is so deceptive. Appearance is more important than Being. This world is just misleading! More, the art work dynamics' is in to give the wrong idea about someone and to someone, or the wrong impression about something, such as ideas, subjects, objects, etc. It gives the wrong information in order to bring a recognition of our limitations, in particular of one's thoughts. This world, in particular, belongs to a set of potentialities where meaning is genuinely ambiguous, since meaning can be used in similar contexts to mean both one thing and also its complete opposite, as was expressed in a recent conversation between Marlborough Contemporary' director, Andrew Renton, and artist' Jason Brooks, about his paintings done from photographs, which almost look like paintings rather than looking like photographs:
«Andrew Renton: And that finished item… when you stand back from it, does it surprise you? I’m asking because I always wonder how true to your sources you are – whether it’s a series of photographs or a found painting…
Jason Brooks: I’m responding to source material in the way Hockney responds to a landscape. I am not making a painting of a photograph. The goal is the finished work, I don’t judge it by its fidelity to any of its source material. To that end I’m always surprised – sometimes for better, sometimes for worse.»
So, to avoid confusion, I have a suspicious attitude - not nihilist - at the beginning and instead go and look for a better tavern and drink whatever their is to drink, except if it is beer or a lousy creepy wine. If in the meantime I don't learn something new, which will make me unlearn what I have accumulated throughout the last couple of decades of my life, add information and make me rethink about the surrounding structure, i.e., everyday life, it is just not worthy the hassle. In this case the objects on hold at the tavern deserved the drinks drank.
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