Long time no see.
Sorry for those of you who have been wondering where they hell I've been. I've been writing more on my travel blog, Person Place or Thing (jessiecarmellabarcelona.blogspot.com), documenting my travels abroad. I've also kept my ideas and drawings to myself in my diary... sorry for being so selfish. :)
The other day I decided to make a visit to the CCCB again to see the Cinema Quinquis show and stumbled across a new exhibit, Sieglo de Jazz (Century of Jazz). Basically an awesome afternoon. I watched over 2 hours of Jazz show clips, Soundies and a montage of film clips that were very much influenced if not totally about Jazz in the mid 20th century. It was great. Lots of precious old record covers were showcased and even some famous works by Mondrian, Man Ray, Jean Michel-Basquait and even my favorite piece of Jeff Wall's!
This is
After 'Invisible Man' by Ralph Ellison, the Prologue 1999–2000
Transparency in lightbox 1740 x 2505 mm
Emanuel Hoffmann Foundation, on permanent loan to the Öffentliche Kunstsammlung Basel
Cinematographic photograph
© The artist
From what I understand, "After 'Invisible Man' by Ralph Ellison, the Prologue" based on the 1952 novel, is centred on a black man who, during a street riot, falls into a cellar of an apartment building in NY. He decides to live in this subterranean shelter (description emphasizes the ceiling of 1,369 illegally connected light bulbs), hidden away from society above. Like in most of Wall's work, he uses the light box behind to bring his "invisible" or overlooked subjects to light. By also arranging his subjects and situations in a very composed, or even theatrical, film noir-esque "snap-shot", he captures the importance and detail of these often narrative characters. So I suppose there's a parallel or link between the place in Ellison's novel and in Wall's own photography.
P.S With the risk of name-dropping, our friend Jeff decided to use my family's little wooden stool. See it?
hehe It's the tiny one in the back. This beautiful handmade thing (used for gardening we assume) was found in the basement (?) of our Victorian house in Vancouver, when my mom and dad moved in, in 1986.
I like this comment...
'I can't draw a sharp distinction between the prosaic and the spectral, between the factual and the fantastic, and by extension between the documentary and the imaginary,' -Jeff Wall
Mmm dreamy...
I'd like to think I'm sort of feeling the same way at the moment about my work. With focus on the subject of memory and often linking it with my surroundings, reality and the dream world tends to blend and then find form in my drawings or videos. The fusion of the day's events, music, emotions, and momories of the past come together for me in a way I can't really describe, without getting all Freudian on you.
http://www.cccb.org/en/exposicio-el_segle_del_jazz-25706
The other day I decided to make a visit to the CCCB again to see the Cinema Quinquis show and stumbled across a new exhibit, Sieglo de Jazz (Century of Jazz). Basically an awesome afternoon. I watched over 2 hours of Jazz show clips, Soundies and a montage of film clips that were very much influenced if not totally about Jazz in the mid 20th century. It was great. Lots of precious old record covers were showcased and even some famous works by Mondrian, Man Ray, Jean Michel-Basquait and even my favorite piece of Jeff Wall's!
This is
After 'Invisible Man' by Ralph Ellison, the Prologue 1999–2000
Transparency in lightbox 1740 x 2505 mm
Emanuel Hoffmann Foundation, on permanent loan to the Öffentliche Kunstsammlung Basel
Cinematographic photograph
© The artist
From what I understand, "After 'Invisible Man' by Ralph Ellison, the Prologue" based on the 1952 novel, is centred on a black man who, during a street riot, falls into a cellar of an apartment building in NY. He decides to live in this subterranean shelter (description emphasizes the ceiling of 1,369 illegally connected light bulbs), hidden away from society above. Like in most of Wall's work, he uses the light box behind to bring his "invisible" or overlooked subjects to light. By also arranging his subjects and situations in a very composed, or even theatrical, film noir-esque "snap-shot", he captures the importance and detail of these often narrative characters. So I suppose there's a parallel or link between the place in Ellison's novel and in Wall's own photography.
P.S With the risk of name-dropping, our friend Jeff decided to use my family's little wooden stool. See it?
hehe It's the tiny one in the back. This beautiful handmade thing (used for gardening we assume) was found in the basement (?) of our Victorian house in Vancouver, when my mom and dad moved in, in 1986.
I like this comment...
'I can't draw a sharp distinction between the prosaic and the spectral, between the factual and the fantastic, and by extension between the documentary and the imaginary,' -Jeff Wall
Mmm dreamy...
I'd like to think I'm sort of feeling the same way at the moment about my work. With focus on the subject of memory and often linking it with my surroundings, reality and the dream world tends to blend and then find form in my drawings or videos. The fusion of the day's events, music, emotions, and momories of the past come together for me in a way I can't really describe, without getting all Freudian on you.
http://www.cccb.org/en/exposicio-el_segle_del_jazz-25706
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