Instructor: GEIR YTTERVIK
June 26th – July 2nd
Sometimes you just have to kick in the door and physically move the paint differently.”
The workshop will vary between freeing exercises and studies through observing nature and light.
The workshop is for anyone who likes a challenge
Thinking quickly. Quick decisions. Creative solutions, access to subconscious knowledge and forgotten experiences. Believing that various answers can provide the best solutions and alternatives to choose from is crucial for creative work. Creativity entails working in width – with different possible solutions, and in depth – with variations over the different possible solutions.
Creativity also entails walking outside of the known paths, habits and thinking patterns to discover something new, therefore “the art of surprising oneself” isn’t a bad description.
That is what I will focus on in this workshop.
We exceed ourselves and break apart and reorganise what we know. New ideas are often ‘mistakes’ that turn out to be ‘right’ in hindsight.
There is nothing in the artist’s mind that hasn’t been sensed or felt before, or in his hand that hasn’t been seen by his eye.
We look at the artist’s ways of using other artist’s works. This also leads us into art history, so that we can become more aware of genres and directions within the art history.
The workshop entails individual guidance and discussions as well as group presentations and discussions.
- There will be presentation of individual works
- Some art history
- Simple composition and colour teachings
My paintings are born in mass media, a typical 21st century phenomenon. The new century left behind the dogma, criterion and utopias of modernism, and opened up for the narrative painting that used to be seen as impure.
I use photography, a video projector or a movie still as my starting point. The images are mostly taken from horror movies or criminal dramas, and taken out of their original context. They vary between the scary and the commonplace, frozen in time.
Film always has a next image, so I take one out of the long stream of images. In that way the images will always give an air of something hidden and unclear; the next image that isn’t coming. This creates unease.
Images can also be put together, other people can impose on scenes, and in this way a new reality is created.
The images are dramatic; no happy world. A departure or an assault or the quiet after dramatic happenings. The images are worked on with paint so that new meaning arises. I use images and photos from the popular media. At the same time I want the paintings to have gone through several processes. The photo can be over exposed, be badly printed, or there can be ‘snow’ on the TV-screen. The technique is realistic, also by letting the imperfect aesthetics of the photo shine through.
A painting that has its starting point in a TV-image can also refer to art history by chance.
Paintings from: http://www.geir-yttervik.no/
Also see: http://www.galleritrafo.no/galleri1/GeirYttervik.html
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