MODEL on the catwalk black and white image

Result #1

MODEL on the catwalk black and white image of a steaming cup of coffee in the lower center of the slide reveals a tiny logo, an eye, and a red bulb that briefly flashes. A deep and eerie gray silhouette (perhaps an inlaid circle) partially obscured the viewer from the bottom edge of the image, the coffee table was perhaps a grave or a scene of burial. A carefully drawn fingerprint (perhaps a snitch?) and a track record of browning hair mark the place. The eerily empty stare of the print—a blurred expression—leaves one in a slightly surreal state of suspended disbelief. The little glowing stars, like the starlit spiral around the empty heart, show the heart in its miniature form.With the exception of its title, the title of the work, Down Under, also evokes the intense, carnal, and sometimes even toxic atmosphere of the South African bush. The work is also filled with violence. A pair of faces, often horrifically distorted and nearly transparent, emerge from a torn-up area of the black background and are almost as big as the eye they are part of. The anguished expression of these faces speaks directly to the feeling that the situation in the video is no longer survivable, and it is only by slowly and methodically suffering and dying that it can be survived. In the same way that the heart is destroyed as it is sliced open, so the heart is gradually destroyed through the process of its dying. In this way, the heart is also destroyed through its own system of living. It is from this process of living that life is preserved, and only by the most silent and most excruciating efforts—sacrifice and sacrifice—can the heart be saved. Those who make the most of life have the most skillful tools. In fact, even the most stubborn heart can be saved from its own death. The internal organs in the heart are more fragile than most we might imagine, and are often not even finished when they are destroyed.

Result #2

that dominates the composition. His dazzling blue-and-green conjures the fields of the sky, while the faint lilylike white of the catwalk does a more subtle dance with color. The effect is like being swallowed up in a dark storm. The artist also has his images drawn, in black-and-white, using a chalk pad to form them. In this piece the pen is used as a kind of expulsive gesture, as the image of the catwalk outlines a forest of palm fronds with a constellation of smaller star clusters. The stylistic references are easily evident, but the imagery is constantly obscured by the surrounding atmosphere of lush color, like a combination of a comic strip. Here, however, it is more of a thought than a choice. A kind of self-consciousness is implied in the fact that the work is done in black-and-white and that the process of drawing is necessary to the final product. This is the case with all of his works, which are always an attempt to work out the ambiguities of the medium. Positivity is a barrier, one that must be broken down before it can be overcome. In his drawings, he attempts to get beyond this barrier and connect with the things that surround him—even his own imagination.

Result #3

, the São Paulo Botanical Museum. In this undated painting (and a series of others including A Contango (Wander), all 1988), the artist alternates between two-dimensional and three-dimensional forms, rendering detail as a mere surface of signifiers in the flat field of lines. The details are placed in continuous, sometimes even overlapping lines, sometimes in an already familiar form, and sometimes only partially. A red, beige rectangle with a green vertical, for example, is suspended over a blue horizontal of a different hue. In these paintings, line and line-in-line duality are inverted. The lines are drawn vertically, often following the horizontal line of the vertical image, and the vertical lines are drawn diagonally, creating a whorling, curlicuing surface.The shapes in A Contango, like those in the other works shown here, tend to be exuberant and colorful. The colors in A Contango—yellow and orange, green and purple—are all luminous and full of life. The best of these works, however, are the least captivating: If a single element in A Contango seems to do anything, it is light, subtle and specific. The contrast between the white squares of the rectangular ones—as dark and richly embossed with intricate lines as the image itself—and the light red of the blue ones is uncanny. At the same time, A Contango is a kind of multicolored magic carpet. It may be a clever game of enchantment, but the colors and textures do not set a storehouse, they invite us to keep looking.Somewhere between a dreamlike picture and a map of a world, the world of A Contango is the image of the heart.

Result #4

. There, the image shows a naked group of bare-chested women posed with their arms spread, the tops of their heads covered. To the right, we can see the torso, which has been painted in a crisp, as if, for the former work, the background were a medium-density backdrop to the light. The image on the left is a sketch, an outline of the heads—some are blurred—that could have been the same photo, but there are signs of a moveable surface. From these details, from the eyelashes, we learn the shape of the head and figure. When we look at the two images again, we see the white paint, a color created by the actions of the brush. Because the image on the left is identical to the one on the right, the left is in fact the same photograph as the right. Thus, the figure is turned inside out. We see what we expect to see—a portrait—and, in so doing, we, too, turn into a portrait. There is no space between the two portraits. The resemblance is not a superficial one, but a profound one. And this difference is a subtle one, which brings to mind the notion of infinity, an infinity of knowledge. The body is not a space, but an infinite depth. So, in a sense, the figure is an infinity, for one is a still life, a window or an infinity, a moment of reflection.Beyond the sketch, the likeness also reveals a moral: the figure, the body, is a record of a reflection, an image of a moment in time. Here, the mirror illusion becomes a metaphor for the body, which, in its simplicity, is the highest realm, a place that is beyond all time and that is beyond everything.

Result #5

taken from a forty-second magazine advertisement. The detail of the kaleidoscopic background of his own torso, coupled with the contrast of the three-dimensional portion of his body, is a prelude to the form of the objects the viewer encounters in the series. In other images, the contrast between the flat expanses of a wave and the spiraling and elastic branches of trees made up of hair can be seen.A motion-activated video game can be seen in the installation. Screened in dimmed color, an anime style character spends the latter half of the game playing, jumping, and bouncing in front of a flashing green background. The feature is at once familiar and unfamiliar, exotic and familiar. A small screen shows a backdrop of bluish light, reminiscent of a movie screen, on which two figures are frozen in an action. The image, rendered with a swirl of paints, is accompanied by a chain of text and graphics, drawing the viewer into a kind of Zen-like meditation on the limitless possibilities of the imagination. This installation, The Third Side, 1991, focuses on the surreal and mordant landscapes of landscapes such as those found in European European painting, whose natural forms and borders are also seen through the camera. In the film, the scene is shot from behind, and two actors are followed by a mysterious character. The settings are imagined through the camera. The effect is surreal and surrealist. Even in the most ordinary, politically and socially conscious scenes of the Mediterranean, there is a strong sense of unreality.