Showing posts with label collector. Show all posts
Showing posts with label collector. Show all posts
Thursday, 4 September 2014
2014 Jan Cleveringa- "Who?"
2014 Jan Cleveringa- "Who?"
Acrylic Paint, Bones and Resin on Canvas,
62 x 62 x 4cm
I have rejected my usual approach to painting for a more installation type work using uncomfortable materials in a passionate way about my spiritual experience through depressed eyes. Depression a has been exposed using a ghastly experience being expressed through somewhat ghostly and disturbing material. Nothing can be more naturally insecure than to expose deep horrible feelings of despair, loss and contradictory hope in the conundrum of depression.
The stigma, the discrimination about mental health, and the commonality of the illness in our growing society. The emotional realities like switching realms allows for a changed spiritual perception and for life changing different views. An experience, hard to share in intensity.
In this work, I collected these bones for over a year from chickens that I ate whilst thinking about this work, unsure of what would result or if I would use them. I just needed to collect them. Each bone having been in my mouth and their flesh ingested symbolise the organic human needs like hunger, love and morbidity raising the big faith questions of "Who am I and why?" Hence, feeding off the flesh of animals and the normal but ritualistic time taken to do this provide a disturbing recognition and almost urky realisation of the human condition for the viewer. Perhaps a small glance into the similar disturbed condition of depression.
Here, open to different interpretation, the organic machine is broken like a machine wheel or human egg where intense emotions and spiritual awakenings/feelings come and go in a snapshot of a tide of glassy black like water washing against bones in an ebb and flow movement. An intuitive way of making art.
Labels:
art,
artaustralia,
artist,
australia,
bones,
canvas,
cleveringa,
collector,
contemporary,
depressed,
depression,
fine,
gloss,
installation,
meaning,
painting,
resin,
sculpture,
sydney,
sydneyart
Wednesday, 3 September 2014
2014 Jan Cleveringa Artwork- "Fade"
2014 Jan Cleveringa- "Fade"
Installation Sculpture,
20,000 T5 Fluoroecscent Light Tubes,
Beams Festival, Chippendale Sydney
“Fade” is a luminous installation artwork about change. It talks about technology being replaced by the new. It is a metaphor for cultural formation where new things like technology, products, words, processes, attitudes, symbols and signals all get shared, digested and either become redundant (or used less) or simply kept as part of the dominant Hegemony, or slowly fade away- depending on its’ usefulness to the consumer or participant having the ability to change the product while it is being shared and digested and as time moves forward.
Labels:
art,
artaustralia,
artist,
australian,
Beams,
collector,
contemporary,
Festival,
fine,
fineart,
Gallery,
installation,
interactive,
jan,
sculpture,
sydney,
sydneyart
Sunday, 13 July 2014
2014 Jan Cleveringa
"You've Got Stars in Your Eyes"
Interactive Installation
2014 "You’ve Got Stars in Your Eyes"
Microscope and Australian Flag
33cm x 11cm x 20cm
& Photograph
An Interactive Installation Artwork
“Looking, literally, through a microscope” the viewer is focused on the Australian Flag as part of Australian identity and more specifically on the smallest star in the Southern Cross. The flag is bedded down as a sticker onto a transparent plastic slide. A torch light hits the mirror underneath elucidating and reflecting onto the flag literally “shining a light” on probably the most prominent symbol of Australian identity. The circular image with a star shown here is a photograph taken through the microscope as a viewer/participant would see it. They would also see the various colours in the image that make up the blue and white colours in the print, perhaps, representing the various peoples and different attitudes that a democracy like Australia might represent through a flag when an issue arises in the national interest.
The artist is interested about how this symbol can be manipulated by people to achieve their goals and the dangers involved with regards to Australian Identity and how Australians see themselves For, example, the seeming political football about ‘Boat People’ and along with it the fears, myths and misinformation used and shaped by political parties, interest groups and individuals to achieve their goals in the community. This could also be said true about the subject of climate change in Australia as part of national identity as part of the dominant cultural hegemony of thought that exists (currently) and how it's formed, shared and digested as a population creating a future cultural direction.
“You’ve Got Stars in Your Eyes” is a serious artwork despite the sarcastic title and visual puns involved in the work. The title is a colloquial phrase from the artists upbringing that means to the artist- be warned about being blinded to dazzling things, about being a dreamer or about being starry-eyed to celebrity and charisma. (A phrase likely to be based upon Shakespeare’s words “All that glitters is not gold”.) It can be dangerous without discovering for one-self the seeming objective driven facts and making an informed decision rather than relying on trust and attraction. A person does not need to go far to remember the Flag of Nazi Germany in WWII to understand the positive and negative aspects of such a symbol as a catalyst for using and growing underwritten semiotic values and attitudes. It may seem an unfair comparison in this context regarding WWII but again we need to continually ask ourselves, “Have We got Stars in Our Eyes?” about any of these current and future issues about who Australian's are as a people and who you are personally.
Labels:
art,
artaustralia,
artist,
ausart,
aussie,
australian,
boat,
cleveringa,
climate,
collector,
contemporary,
fineart,
flag,
Gallery,
installation,
interactive,
jan,
microscope,
modern,
sculpture
Thursday, 19 June 2014
2014 Jan Cleveringa
"Belly-ache"
Sculpture/Installation
This Sculptural/Installation work is about Australian Identity in terms of symbolic and textual cultural signifiers within the dominant and growing Hegemonic Anzac culture in Australia.
The Anzac biscuits, coated in resin, are symbolically preserved and locked into history as the biscuit that Australian families sent to the troops in WWI due to their capacity to stay edible over time. Every year the tradition is kept alive by Australians eating, sharing and digesting these biscuits on Anzac day, and other days, reinforcing it as a social, visual and digestible cultural symbol.
The word ‘belly-ache’, is used, because it is derived from soldier slang in WWI meaning a ‘mortal wound in the guts’ (Bruce Moore (2000) The Anzacs and their Words). It is an Australian word that is still used today, though it has lost its original meaning it is still used contemporarily to describe an upset stomach. It is idiosyncratically Aussie.
'Belly-ache' is ascribed to the serving tray which is placed upon Royal Blue velvet as a symbol of the boats landing at the shores of Gallipoli. The biscuits represent both the soldiers sitting in the boat and also as a foodstuff that was sent to the troops later by those people that love/d them. They also act as a symbol today.
This reflective artwork is based in a symbolic reality that is both semiotically and literally digested, shared and refashioned every day in Australian culture.
The artwork represents the crisp, starry-eyed, anxious feelings by soldiers in their boat going on an adventure, fresh and unblemished by the hell that is war, and the future to come. These poor soldiers will get eaten alive.
The Anzac biscuits, coated in resin, are symbolically preserved and locked into history as the biscuit that Australian families sent to the troops in WWI due to their capacity to stay edible over time. Every year the tradition is kept alive by Australians eating, sharing and digesting these biscuits on Anzac day, and other days, reinforcing it as a social, visual and digestible cultural symbol.
The word ‘belly-ache’, is used, because it is derived from soldier slang in WWI meaning a ‘mortal wound in the guts’ (Bruce Moore (2000) The Anzacs and their Words). It is an Australian word that is still used today, though it has lost its original meaning it is still used contemporarily to describe an upset stomach. It is idiosyncratically Aussie.
'Belly-ache' is ascribed to the serving tray which is placed upon Royal Blue velvet as a symbol of the boats landing at the shores of Gallipoli. The biscuits represent both the soldiers sitting in the boat and also as a foodstuff that was sent to the troops later by those people that love/d them. They also act as a symbol today.
This reflective artwork is based in a symbolic reality that is both semiotically and literally digested, shared and refashioned every day in Australian culture.
The artwork represents the crisp, starry-eyed, anxious feelings by soldiers in their boat going on an adventure, fresh and unblemished by the hell that is war, and the future to come. These poor soldiers will get eaten alive.
Labels:
anzac,
art,
artaustralia,
artist,
ausart,
biscuit,
cleveringa,
collector,
contemporary,
cookie,
fine,
Gallipolli,
installation,
jan,
love,
sculpture,
sydney,
war,
WWI
Location:Sydney, Australia
Sydney NSW, Australia
Tuesday, 17 June 2014
2014 Jan Cleveringa
"What On Earth Are We Eating Exhibition"
At The Vanishing Point Gallery, Newtown
Assorted Paintings
Cleveringa’s painting is an act of sharing, digesting, and reproducing a cultural perspective into something that is current, refashioned and new.
He raises issues about the symbols, signs and signifiers involved in the context of Australian identity.
The subjects,words and phrases he uses are from a perceived ‘Aussie culture.’ They create a semiotic awareness used in everyday life. They pose questions about cultural Hegemonies, group polarization, and the ingredients of what an ‘Aussie culture’ might be.
He uncovers change mechanisms, attitudes, world influences, technological change, political leadership, and other shared acts that create or reinforce Aussie culture.
These paintings are about semiotically digesting supposed iconic ‘Aussie Foods’. What makes them Australian? How are they an act of culture, associated with producing, sharing, and digesting them both literally but also their related symbology, signs and signifiers? How do they promote, include, exclude and reinforce Aussie values in terms of Australian identity?
2013 "A Dinkum Anzac Bickie Mate"
Acrylic and Enamel Paint on Marine Plywood
60cm x 80cm x 4.8cm
2013 "A Humdinger Pav Mate"
Acrylic and Enamel Paint on Marine Plywood
60cm x 80cm x 4.8cm
2013 "Vegie Toast and a Cuppa Mate"
Acrylic and Enamel Paint on Marine Plywood
60cm x 80cm x 4.8cm
2013 "A Ripper Steak and Veg Mate"
Acrylic and Enamel Paint on Marine Plywood
60cm x 80cm x 4.8cm
Labels:
#art,
anzac,
art,
artaustralia,
artist,
ausart,
aussie,
australian,
biscuit,
cleveringa,
collector,
contemporary,
cookie,
fine,
fineart,
Gallery,
jan,
love,
painting,
sydney
Thursday, 29 May 2014
2014 Residency
Purple Noon Gallery (2 Mths)
Tuesday, 20 May 2014
2013 Jan Cleveringa
"The Australian Identity Series"
Collage Series
"The You Beaut Country and the Cricket BBQ"
Collage on Paper
This artwork is about the typical Aussie Cricket Barbecue (BBQ or Barbie) where people can be invited over to watch the Cricket on TV either whilst having the BBQ. It might also be a family affair at home.
The use of "The You Beaut Country" text comes not only from a phrase used in Australian culture but also comes from John Olsen's Video documentary some many years ago when he painted Lake Ayers when the rains hit and made the lake massive and full of life (A childhood memory of mine so to say).
The picture, though seemingly humorous using the visual pun of the cricket, is a serious part of Aussie culture in the Summer season and some of the glue that informs Australians that they are Aussies and part of Aussie culture. This may be true for the new migrants too who may learn about Cricket to be less culturally different to others. It exposes one way of fitting into Australian life and an opportunity not to be so different. There are plenty of semiotic undertones and signifiers here into Australian culture, its formation and production, for those theorists amongst us. Perhaps, it's part of the dominant Aussie cultural Hegemony.
Hit it for Six mate!
2013 "A Wilful, Lavish Land Holding up Australia Day"
Collage on Paper
2013 Australian Identity Series
"Scanning the Aussie Meathead My Homing Thoughts Will Fly"
Collage and Paper
Labels:
art,
artaustralia,
artist,
ausart,
aussie,
australian,
cleveringa,
collage,
collector,
contemporary,
cricket,
fine,
fineart,
Gallery,
jan,
original,
painting,
sydney,
text
Location:Sydney, Australia
Sydney NSW, Australia
Saturday, 17 May 2014
2013 Jan Cleveringa
"Not Everyone Gets Cake"
Collage On 220gsm Paper
2013 Jan Cleveringa
"Not Everyone Gets Cake"
Collage On 220gsm Paper
42 x 59.5cm
Cleveringa's continuing delving into the context of Australian Identity in his arts practice and his fascination with grid forms, repetition and collage are used to create a tapestry of colour and exaggeration in terms of the welfare state in Australia.
The use of the words 'Dole-Bludger' is common place in Australian households. It is used to describe lazy Australians who are unemployed or refuse to work. It is part of the Hegemonic cultural stereotype used negatively for the unemployed, mostly young people, in Australian society. It has various connotations and uses, including those uses that are humorous and serious in conversation of everyday life. This word is also invariably used by political parties, and those in power, when there are points to be scored. Rarely is the term used when one uncovers the real need for a helping hand and their desperate, fragile position when needing the assistance. In the past, particularly in the Great Depression in Australian, the word 'Susso' was used meaning sustenance. Having a benefit was okay back then as half the country was unemployed including the middle class and rich.
Cleveringa's somewhat ironic use of the saying- 'not everyone gets cake' and his use of the aesthetically saccharin, pink iced cupcakes which are seemingly attractive to the eye and the stomach speaks about the 'Haves and Have Nots' in Australian society.
Labels:
art,
artaustralia,
artist,
ausart,
cake,
cleveringa,
collage,
collector,
contemporary,
cupcakes,
fine,
grid,
jan,
modern,
new,
sydney
Saturday, 10 May 2014
2013 Jan Cleveringa
"The First Boat People"
Finalist- Fishers Ghost, Campbelltown City Art Prize
Thursday, 8 May 2014
2012- Jan Cleveringa "Fair Go Mate"
Finalist- Fishers Ghost, Campbelltown City Art Prize
2012 "Fair Go Mate, Thumbs Up and Circular Saw"
Acrylic and Enamel Gloss on Canvas"
122cm x 152.5cm x 4cm
Labels:
#sydneyart,
art,
artaustralia,
artist,
ausart,
aussie,
australian,
campbelltown,
cleveringa,
collector,
contemporary,
fine,
fineart,
jan,
modern,
original,
painting,
powertool,
prize,
sydney
Friday, 2 May 2014
2011 Jan Cleveringa
In Art Monthly Australia
2011 Jan Cleveringa, artist- An Original Contemporary Public Art Work- Street Painting-Stanhope Gardens, Sydney- In Art Monthly Australia- Review p56 #237 March 2011. A Picture and a mention. (right hand corner. — with Jan Cleveringa at Stanhope Gardens).
Labels:
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art,
artaustralia,
article,
artist,
ausart,
cleveringa,
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fine,
jan,
love,
modern,
new,
powertool,
sydneyart,
words
Thursday, 1 May 2014
2011 Jan Cleveringa
Hills Shire Times
Friday, 4 April 2014
2010 Jan Cleveringa
Commissioned Public Work- LandCom Pty. Ltd.
2010 Jan Cleveringa
Commissioned Public Work- LandCom Pty. Ltd.
"Semiotic Poetry in the Suburbs"
Acrylic and Enamel Paint on Industrial Wall"
30m x 1.8 m x 0.08m
2010 December Studio shot.
One section of ten.
Labels:
art,
artaustralia,
artist,
ausart,
cleveringa,
collage,
collector,
contemporary,
design,
fine,
fineart,
jan,
love,
modern,
mural,
painting,
residency,
studio
Location:Sydney, Australia
Stanhope Gardens NSW 2768, Australia
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