black and white inked staircase, perspective, tone, uneasyness

Result #1

black and white inked staircase, perspective, tone, uneasyness. The work is a game in and of itself. But then the pieces become more curios- ity and, with the exception of a few, subvert the expectations we give to good craftsmanship. In the end, the exquisite craftsmanship, with its diverse permutations, is what pays off here.Ella, the artist, is a perfectionist, an artist, in a nutshell. Her work, for her, is a collaboration with her body. Her self-titled E.D.A.K.E. (Hard-edged Decal) is a cool-toned, almost comfy-looking composite of elements of six flowers. On closer inspection, it reveals that it is indeed made of porcelain. But, like other works of the series, its meaning is opaque. The artist works with tiny bits of the world—a picture of the back of her head, for example—and cuts out the details to form a beautiful decal. The details shes used to construct her flower arrangements are carefully presented in an intricate, organic way. Once the viewer realizes this, however, her critical instinct dissolves; suddenly, the details come to light, and she finds she has the confidence in her craftsmanship to use these details as points of departure for a beautiful but not terribly meaningful picture. In contrast to the idealized perfectionism of the works printed on top, the details in her flowers appear as little embroideries on the surface of a motherly breast.Ella is a perfectionist. It would be impossible to do an adequate job of this complex practice. But the designers and admen who work for Delacroix, the inventor of the decal, have their own repertoires of techniques to draw on, too.

Result #2

black and white inked staircase, perspective, tone, uneasyness, unphased, creepy, creepy, creepy, eerie, odd, disturbing, odd, odd, surreal, strange, sinister, creepy, disconcerting, stranger, strange, creepy, strange, disconcerting, strange, strange, disconcerting, disconcerting, disconcerting, weird, disconcerting, creepy, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, strange, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, disconcerting, dis

Result #3

, and shadows, in the process of coming to be painted by a right-angled camera, possibly the one that captures the camera. When the image is unmixed by the computer, the optical effect is just one of more than forty-eight,000 combinations of negative and positive images that can be created from the same camera model in the same month. Some of the paintings by these artists are striking. Some are quite minor; some are quite significant. The absolute majority of the paintings are good and some extremely good. At the same time, some are just average.

Result #4

, shifts in the light, in a stuttering, slurring dialectic, with an almost forced intrusion of blues and white.Although the paintings are also rendered in color, the color is a shade of deep turquoise or red, and the colors were applied with a shallow, smeared brush, without the slightest trace of polishing. Each brushstroke is unique, as is the hatching, as is the ragged, corrugated surface, though the paint is nonreferential. The surface of each canvas is like a geometrical sheath, stretched and then refashioned, as if the painting had been left out to dry.The paintings also have an aura of mystery. They seem to suggest, at first, a trace of our imagination—for instance, the auburn color of a sunny day. The paintings are surreally enigmatic, and yet the clues are laid out in the craftsmanship: the sketching, the horizontal scumble, and the brushstroke that distinguishes it. The paint is coated in gold leaf. As the viewer moves through the paintings, one is transported from one to another. In one corner, a wide oval is squeezed between two others; in the middle, a square is framed by two others. The bottom half is painted black, with white and black strokes. The work is symbolically elegant and secretive. In another place, a circle (without a stroke) and an aureole overlap one another in an orderly circle, suggesting the unruly, imaginary flow of a museological record. But the paintings are evanescent, more vague than one might expect from such paintings, a proof of the omnipresence of dreams.

Result #5

black and white inked staircase, perspective, tone, uneasyness, fear, humor, sadness, etc. On the ground floor, the work is uninspired and monotonously intellectual, with each piece contributing only a single gesture; the installations dramatic, albeit emotional, presence is mixed with a conspiratorial sense of disquiet and desperation.There are innumerable elements, so many implications, to investigate, all of which you cannot get beyond in an attempt to grasp the sheer sweep of the work. You cannot locate the key or the nail, so that you are compelled to find ways of assembling the disparate parts in order to make sense of it. Yet the gestures are the most mysterious and important part of the installation. All you can see is the hand, fingers, fingers exposed, finger prints, pictures, colored pencil marks. The hand is the link that connects the work to its surroundings and to the viewer. The hand acts as a proof of the structure of the world, but not necessarily as an explanation of its substance. The hand acts as a key that enables you to access and concentrate on it, as you approach it, touch it, listen to it, think about it, read it. It is a key that pulls you into it and into a network of associations, even as it demands that you resist them.What you see in this installation is a suite of paintings, sculptures, objects, drawings, and sculptures that have been assembled from the artist's early concepts and that are intended to become part of the installation: the cerebral mind, the imaginative mind, the sensual mind, the sensual body. What you think about is the body and the mind, the mind and the body, the body and the mind, the body and the mind, the body and the mind. This is the body that you see and that you see in front of your body. What you think about in your mind is the body.