Wouterdwinter ink drawings pen inktober event instagram community prompts creative take daily sketches

Result #1

Wouterdwinter ink drawings pen inktober event instagram community prompts creative take daily sketches of the Korean diaspora, the art world, and the culture at large. The exhibitions title, Take a Day Without Art, was taken from a poem by Paik Duk, a German artist who is also a member of the group PAM (People of Asian Descent). Duk wrote that all art is a red flag to be crossed. And thus, by wearing off the red flag, one could walk on water. The exhibition included photographs, paintings, and an installation of digital copies of Duk's poetry. The most visible of the works on view were five photographs, which were hung in a row at eye level. The largest of these, a series titled A Day Without Art, 2013, consists of eight black-and-white photographs of various cityscapes and locations, the most recent of these taken in Germany. The photo series is titled A Day Without Art, 2013, and is divided into two parts. The first is an image of a modernist building. The second, which is a photograph of a building, is an image of a hotel. The first image, taken in the center of the city, features a window and a number of people. It is taken from a video shot in the central train station. The second image, shot from a roof, is a view of the building. It is the same one Duk took in the exhibition. The small window frames that the other images depict are decorated with flowers and other items, the flowers, like a bouquet, become the frame. The image that was projected on the window frames, which also features a picture of a building, is also a picture of a building. A few lines of text, written in Chinese, are printed in the photographs: 1. The word 'tianjin' (literally, time) is written in a particular direction. 2. The line that separates the two sides of a building is written in the shape of a U.

Result #2

Wouterdwinter ink drawings pen inktober event instagram community prompts creative take daily sketches, collages, and posters that are informed by the history of contemporary art. On the occasion of the opening, she arranged a table, chairs, and a small collection of items—tables, a table, a laptop, and a blackboard—which she used to plan the installation. The artist took a more-is-more approach to the exhibition. She chose to invite only one person to work on her work for a month. The result was an informal drawing, which was then transformed into a painting, a video, and a book. The drawings, which were displayed in the gallery space, were not only examples of the artists daily work, but also traces of the artists reflections on her work and life. The series was also a reflection on the connections between artists and the art world, between art and everyday life. The drawings were displayed on paper that had been covered with a sheet of paper, and the video was projected on the gallery walls. The latter work, made in collaboration with Wouterdwinter, was also a reflection on her own artistic process. The video was a reflection on the artists own daily life, and it was accompanied by a recording of Wouterdwinter reading a letter she wrote to a friend. The letter was also displayed on a small wall and a notebook, while the video, which was projected on a large screen, was a reflection on the artist herself. The video was also a reflection on the relationship between art and everyday life. The drawings and the video were made in collaboration with the gallery and a number of friends, and they were therefore more spontaneous than the works of the other artists in the show.The show was divided into three parts. The first part was a room of the same dimensions as the gallery space, and it was decorated with white wall decorations. Wouterdwinter placed a white table on the table, and she asked the visitors to sit down.

Result #3

Wouterdwinter ink drawings pen inktober event instagram community prompts creative take daily sketches of the artists own run-ins with a fellow artist. On the other hand, the exhibition was a great success: It was, in the words of curator Charlotte Posenenske, an absolutely beautiful exhibition. But it was also a rare opportunity to see a show that didn't look like a show in a gallery. What made the show so captivating was that it was full of surprises and surprises that were, in fact, a lot of fun.In the first room of the exhibition were twelve drawings made in ink, acrylic, and watercolor on paper, all of which were numbered and dated 2009. These drawings were grouped in a row like a set of portfolios, with one to each wall of the room. The works are all titled Abstract/Refugee/Spanning, and, in each case, their title is a combination of the artists name and the date of their making. A few of these drawings are as minimal as they are unrefined. They are, for instance, the only ones in the exhibition with any title. In some cases, the title is as simple as it is crude. In others, the titles are printed in bold letters across the top of the picture. The titles are drawn from a selection of public and private correspondence that the artist has received, among other things, from a refugee who attempted to flee from the war in the Middle East. The drawings are often crudely rendered, but also in a variety of colors and techniques. They are also highly personal. For instance, one is invited to imagine that the subject of the drawing is the artists own inner struggle with identity as an artist. In another drawing, a woman sits on a bed, with her legs up. She is wearing a black coat and a black-and-white striped tie. The tie is inlaid with a pink bow and the coat is decorated with a flower. The woman is apparently wearing her backpack, and the bow is painted on her wrist.

Result #4

of the event, which was originally held at a pizzeria in Cologne. The day after the event, the artist had a private conversation with the audience members, who provided their own annotated accounts of the event. In an interview with artist/researcher Fumio Nanjo, he says, The only thing that wouldnt have happened is that the people who were there wouldnt have been able to see the work. It was a bit like a performance, where the artist was at the same time in a state of perpetual transformation. The show was therefore a rather beautiful tribute to the people who participated in it.

Result #5

of a sledgehammer. The city of Nuremberg was the only city in the world to force women into total confinement. To be considered a criminal was to be kept at a distance from the community that housed and enjoyed them, and they were often confined to separate rooms. In the era of the Nuremberg law, one could not be considered part of that community, but one could be thought of as a member of the Reichstag. In this sense, the exhibition was a tribute to the courage of women who dared to face repression and injustice and to risk their lives for a higher consciousness.The drawings were made by women from different walks of life, but they shared the same set of faces and the same eyes. The drawings were often accompanied by the text, written by the artist, which included a list of the names of the people who inspired the drawings. The texts were written by the artist, who also composed a poem and included a letter from the mayor of Nuremberg, who spoke of the need to unite the German people. In this sense, the drawings were an act of surrender, of political resistance to the totalitarian state, and it is through these drawings that the artist, who was born in Switzerland, was able to leave the country and, for the first time, enter the community of her new homeland. The drawings were also a sign of solidarity with the artists who have made such a difference in the history of art. The drawings are a means of showing solidarity with those who have worked in solidarity with art to achieve social change and have been recognized as artists in their own right. They are also a demonstration of a new freedom in art. One might say that art is not only a tool for social change but also a means of self-determination.