Joe Doe is an amazing writer and with her skills she She oscillates between Grown up in Wales, her language is So cool, that she can For Dekmantel, her writing is absolutely

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Joe Doe is an amazing writer and with her skills she She oscillates between Grown up in Wales, her language is So cool, that she can For Dekmantel, her writing is absolutely serious, but within the meaning of the phrase, as an appeal to ability. There is a clear distinction between her typically low technique and her works ability to stand alone as objects. The flexible rubber bands, paper clips, heavy foil tape and ink-blackenings, apply as a system of ritual incantations, which carry with it a certain amount of anxiety about spontaneity and cleanliness, and a certain amount of a simple agreement with the resources of the environment in which she manifests herself. (In the end the only difficulty here is that the verbal message is spoken by a couple of very weird people who cant spell.) The action of writing is associated with an act of ritual preparation, and it suggests the possibility of a pictorial, or even conceptual, transference of meaning. This is, of course, a curious result of the conjunction of words with personae. But the tension created by the intricate method of writing with hands is no more than a sign of the intimacy of the process of creating.It is said that the artists here are concerned with social reality and the nature of representation, and their work is part of a social sphere. To this end, they are influenced by a range of modes and approaches, from Robert Smithsons calligraphy, to Alex Katzs blood drawings. As such, their work is about the aesthetic world as a sign of a certain psychological landscape. What, then, is it about those textlike words and the relationships they imply? Part of the answer, probably, is that they are used as a motif for a kind of sign language, one that alludes to a particular mode of communication and to a particular stage of identity. But I think this is only part of the answer. Another possibility is that, like the art of imitation, the work here implies a kind of sign language that is in turn implied by another medium.

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her own. She knows the difference between the sublime and the monosyllable. Her words flow diagonally, like the lines of a train. At times she uses the language of sign language, but she doesnt seem to understand what those signs mean. But shes an intelligent, tall, somewhat lean woman. And she has great handwriting.Dekmantel uses the human body as a kind of transparent mesh; its like a sheet of canvas folded over itself, which makes it look like a clay object. The quality of the writing is as varied as that of her faces, and so there is a lot of touching and naming. She has a lot of concern with the color of her skin, for example, and the contrast between white and black. There is an enthusiasm for memory and repetition. In one of her lines she compares herself to a baseball pitcher, with the ink just barely visible where the rubbery lines dangle. They are simple yet poetic, and it was, in fact, their color and their writing that created an effect of remote inevitability.I like that she uses the body as a kind of stasis, that the body is a device to be deciphered. This contrasts with the normal, dynamic ways of writing. It makes it more real. In one of her poems she writes of a person in a green uniform, white and blue, skirting the boundary between consciousness and biography. As a slip of the tongue, it breaks the spell.

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the product of science-fiction and fact; she uses bold expression to express truth. She was born in Romania and graduated from the University of Ljubljana. The most striking pictures here were those of her encounter with the inverted and leaning planes of space and the two-point perspective of the moon. She is an artist who has a keen sense of balance and balance. Every single one of her compositions has a calm spot where a line is placed. Without exaggerating it, she balances the planes. The condition of the planes as seen from the ground is the same as the condition of the subjects seen from the sky. Each painting feels light.In her previous works she used the thickly painted elements of color that re-enacted the lath houses of the Chinese landscape, but the space and the shapes of the lath houses were part of a new, moody reality. Her new paintings are densely packed, with many forms overlapping. The appearance of shape is unexpected. They are so much like the planes in photographs that they become seriously and elegantly contrived. They appear to be made of cotton-candy letters.Dekmantel has often used a photographic process that allows for a controlled decomposition. In one picture she repeats the letter W in a column in a geometric manner. In another she repeats a letter of the alphabet in a column in a colored variety.In the past, she has used the same vertical form as the letter-separating the two sides of a book. Here she has changed to a column of aluminum bars that form a diagonal line on the wall. This act of repetition is quite different from the usual writing: she recomposes it, but not without breaking the symmetry. The fact that the letter will appear to be not in the same shape as the letter-separator only confirms the fact that the letters of the two-color drawings are very different.

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Joe Doe is an amazing writer and with her skills she She oscillates between Grown up in Wales, her language is So cool, that she can For Dekmantel, her writing is absolutely up for grabs. Her ideal writer is a rugged and experimental painter. A veteran painter she was born in Glasgow in 1947, she was already an expert on any number of different vernacular artists in the mid 20s and, along with Breer and Newkirk, is among the leading figures of the post-punk art of the 40s and 50s. The six new paintings on display here, all from 1985, serve as a kind of catalogue of her more general practice, and, as in an avant-garde retrospective, all the artists are represented. The fact that theyre new paintings, while vaguely similar in style to earlier ones, only adds to the cumulative impact.From a distance the paintings look absolutely similar. One could easily mistake the head-on, lithe body for that of the previous version. Its an unforced, easy sort of resemblance, but one that changes as one looks more closely. The bodies are almost entirely covered with whitish paint, a white linenite that gives them a soft feel of lightness. The paintings are often strongly reminiscent of Matisse, which can be seen in the contrasting textures of the legs, the ankles, and the dresses, but with none of the richness or transparency of those two masters. The subjects in these paintings are generally figure groups: a cow, a ship, a man. The figures have been rendered in a heavily toned range of greys, reds, yellows, and blues, creating a range of lighting effects, and the backgrounds are the same, even though the skies have been modified in one case to contain a single yellow sun. It is as if the famous blue in Matisses work had been so distanced from Matisse that it had become illegible. This is a reminder that this show is a retrospective. They only have one painting each from the artists lifetime, and it doesnt seem to matter. Their work isnt just another set of copy artists.

Result #5

Joe Doe is an amazing writer and with her skills she She oscillates between Grown up in Wales, her language is So cool, that she can For Dekmantel, her writing is absolutely one. Her mere presence and the development of a face are enough to supply the world with an image of a green-eyed luminous woman. She is the stuff of romantic, the waifish. For over 30 years she has been working on a series of portraits called The Green Head, often photographed at festivals in France, Germany and the US. In it she has transcribed her personal, historical and photographic findings into a vignette about the living world, and the essence of her emotions and emotions. She is a leading figure of the transfiguration of the human being.Her recent show was for the most part about the impact of her recent work on her life and her family. The photograph of her wearing a so-called play-pitchin was taken on a trip to Windsor Castle, at the edge of the English countryside. In the course of her excursion she committed her life and body to the castle. She was alone, but with a chauffeur-driven car. She received a letter from a daughter asking if she had a place to stay. She was housed in a small room on the grounds and the chauffeur was an old man. On the afternoon of the third day, the girl opened the letter and read a letter from the castle. She was escorted by a guard, dressed in a green-faced mask, and she was asked if she had any news to report. The next morning, she found her daughter and asked if it was true. She had forgotten to tell the guard that she was there. He became enraged and threatened the girl and her family. He was jailed. After this, Dekmantel and her daughter were asked to leave the castle. This, after the little girl spent an enormous amount of time trying to explain to the guard that she was there. They were not allowed to use the telephone or the walkie-talkie. They were not allowed to make contact with each other.