About a graphic experimental digital artist called Nocturnal Blonde

Result #1

About a graphic experimental digital artist called Nocturnal Blonde, 2011, for example, harnesses the core aesthetic tenets of the new abstractionist avant-garde, including black, white, and/or gray, modernist planning and typography, minimal and semi-abstract color, and the new archive. The work consists of a pair of enormous horizontal multicolored blocks, cut from block-shaped boards and coated in a precise white. Although it would be easy to call this installation a self-portrait, it really seems more like an autonomous installation that revels in the beauty of the simple things. In this case, the blocks are a favorite favorite motif for sculpture. In one of the works, a close-up of the blocks: A copper-tipped bamboo stick protrudes from a tube and a wire-mesh bubble-wrap drawer, the look of an explosion. A grey rectangular block, dropped off with a jerry-built nail, nestles in the floor. A plastic sheeting seems to have been designed to hang on the wall, but the tools and materials used in its making are beautifully balanced and fully intact. After years of practice, Nocturnal Blonde couldnt have been a mistake.The similarly titled A Parapoor Soiree Véronique et N'est pas Un homme un clair (A Parapoor Soiree Véronique and No Water Is a Straw) (All you need to know about the homoerotic love-affair) adds to the visual poetry of Nocturnal Blonde. The drawing on canvas, A Parapoor Soiree Véronique et N'est pas Un homme un clair, 2011, invites viewers to take a stroll through its various sections, see the work in action, and then ponder whether the work is really as it appears to be.

Result #2

, 2010, paints backlit matte-black rectangles with hypnotic vignettes: Jumping, floating, kicking, or a rolling die. The objects themselves are ephemeral and their apparent content is constantly in question. It is the way the light reflects off the surfaces that is interesting, says Nocturnal Blonde, whose works often look like people staring at them, or the way the text is rendered: MALABAMA BUTTERFLY ON SCREEN. This is a visual annotation of an event, a document of something. The meaning of each piece is always in question, yet it is all so affected and infectious, such an infectious, yet disarming experience.The show was populated by a number of loosely hung string abstractions from the 2010s—silkscreened wooden structures that pop up at certain points in each strip. These can be viewed as improvised sites for the collaged images to develop. The artist, to cite an apt metaphor, is a networker, especially when he works with overlapping connections. An ellipses in Soft , 2010, for example, flashes twice before disappearing completely; it is hard to discern whether the artist is making a wish, or the figure is sleeping. The graceful black lines of Sunset Blonde, 2010, in particular, signal that the artist is trying to find a link between two ideas. It is a simple, elegant device that lends them a genuine elegant elegance, a beauty, and a subtle refinement that reflects Nocturnal Blonde's broad experience with artmaking and the social world. His writing and collage processes often are far from free, but they are always in dialogue with a process of investigation, a process of learning.

Result #3

About a graphic experimental digital artist called Nocturnal Blonde (all works 2017), painted charcoal, adorned with strategically placed carbon-based pigment, and attired in a tracksuit, evokes imagery from the pages of a contemporary art magazine. The works title evokes the late 80s and early 90s, when Bonami was a figurehead for and an influence on a generation of young artists. Her relationship to the medium was no longer simply one of imitation but rather of probing the margins of the mainstream. In a 2001 profile in the New York Times, Bonami claimed that she lost all connection to the mainstream world when she started playing games with paint. But here, her paintings foretell a new age of artistic experimentation, in which the iconic status of the artist will never be a pretext for erasure or dismissal. The paintings also contain the final traces of a skillful hand that will be on display in the shows final exhibition, a collection of painted sculptures by Bonami that will be on view in an adjacent gallery. The artist and her collaborators celebrated the artists death in a memorial exhibition that included an extensive array of works by the artists collective. The Gallery of Tomorrow opened with a work by Bonami called On the Way, a hand-carved wooden wall piece made in collaboration with artists and writers. Featuring an intimate collage of brown-tinted floral patterned fabric, the work is modeled on the glazed surfaces of the cutouts of a gift-wrapped book. Bonami took it as a jumping-off point for her playful investigations of the connections between color and image.The first of a series of installations by Bonami titled LUs (We), which made up the show, is a series of blank canvas canvases that feature a skull, a key component in the paintings original design. The symbol of a drawing or record with words, symbols, and a grain of salt written on them, the skull stands for time, repetition, and the void—the first stage of the process of time.

Result #4

About a graphic experimental digital artist called Nocturnal Blonde (Nxt) has apparently asked someone to track down the work of her over-worked but famous lover, Rembrandt. While the artist may or may not be able to find the composition of the photo, the best clue might be that Rembrandt himself drew the composition. And indeed, in the most recent instance of the artists involvement with her work, the duo recorded a conversation that centered on the question, Is it her imagination that brings her these pictures of him?Nocturnal Blonde is now working with other artists in a suite of two-foot-by-two-foot portraits that were exhibited at the end of the 2016 Whitney Biennial in New York. The exhibition included a selection of each artists work and documented, in the words of the artists writer and director, Ellie Fletcher, how the artists envisioned the portraits. Among the various styles and approaches of these different approaches to composition, she wrote in the exhibition catalogue, some were surprisingly like Rembrandts paintings: Murals in which layers of color are filled with letters, anodynes—the kind of thing the artist first tried to capture in photographs. Others involved painting, playing with color, or combining colors in a more formally appealing way.This exhibition included a selection of drawings from the collaboration, as well as an assortment of typographical conventions used in the artists works. The lineup, with its emphasis on the artist and the computer, highlighted the variety of techniques and processes used in the studio process. Each document involved collaging, drying, and printing. The key to the artists use of these processes was evident in the manuscript for the show, which is a compilation of notes on the manufacture of the collages, as well as the process of assembling the collages. Each of the six collages in this exhibition was an indivisible work, each being a component of an overall composition.

Result #5

About a graphic experimental digital artist called Nocturnal Blonde, 32 years old, died in 1986 at the age of thirty-six. At the time, his work had a considerable influence on the work of artists like Gino DeMello, Peter Plagens, and Wataru Ichi. After a decade of work with the new technology, he is considered a master of materials, a master of workmanship.His studio was a beautiful heydorn. At the time, all of the works in the exhibition were made with a sheet of glass. Slurry was the last. The glass, a work of perpetual and infinite durability, is the point of departure for his entire enterprise. The glass was laid upon the gallery floor. To his disappointment, it disappeared. Nocturnal Blonde, fixed on a plastic sheet, had made a complicated object. The glass was the visible point of the work, and when I touched it, it was broken, with no cracks at all, a work of art, not of broken glass. I did not consider it a mere work of art, as much as a work of mind. For Nocturnal Blonde, the place where he made the glass was a mental universe, where all thoughts came to life.In the exhibition, the glass pieces were displayed in what seemed to be a sort of eerie limbo, at the very edge of unreality. There were three specter scenes. Two of them, two of them covered with air, were at a distance. The third, partially submerged in a dark space, was an impossibility, not just a dream; it was a reanimated corpse. The walls of the main gallery were covered with the ghostly silence of these specters. Two specter scenes on the wall featured an achromatic background and a dark, disembodied, dark-blue sky, while two more were colored in a sepia, sepia tone, except for a few blue and brown strokes that covered the wall behind them.