A Christmas party at Modern Art Oxford tonight, I'm really quite excited, eight pounds to be paid by cheque, I've written it out and I'm ready to go, well, I will be in two hours, it starts at six thirty.
I've been speaking to the most interesting guy recently, he's exhibiting a piece at OVADA (Oxfordshire Visual Arts Development Agency) as part of 'HUNTING the PHOENIX', his name is Sam Zealey, you can find a link to his website here. The other artists and more details about this event can be found here. I'm going to the opening event on Friday night.
Tomorrow evening, there's yet another Christmas party, this time it's in the art studio. I'm bringing dates and duck spring rolls, I did have two boxes of spring rolls I was going to cook but I couldn't resist so I've only got one box left now! Ah well. Hopefully if nothing else comes up I'll be able to go up to Southport. I'm not looking forward to travelling for over four hours in the cold, with a suitcase.
I went to see my work in Marylebone Tube Station on Thursday, it looks great, I was surprised at how large the actual poster was. I filmed myself walking towards it, the video can be found here. I also wandered down Brick Lane for a while, I bought an original 1960's dress, it was only five pounds, there was a shop with an amazing vintage sale on, some of the stuff was absolute rubbish but most of it was pretty cool.
About Me
- Tiffany Horan
- Oxford, United Kingdom
- Tiffany Horan is a young British experimental artist currently studying Fine Art in the UK. She was once described as an expressionist as her work tends to be fairly simple often capturing subjective interpretations and emotion rather than reproducing something aesthetically pleasing of the subject matter, the work often incorporates topics such as isolation and journey.
Contact Details
Wednesday, 16 December 2009
Monday, 14 December 2009
Weekend.
Friday:
After a hard day in the print making work shop, I attended a private view at Modern Art Oxford, Miroslaw Balka: Topography upstairs and Pawel Althamer: Common Task downstairs. Free wine in the cafe. It was absolutely wonderful. Upstairs, my two friends and I were discussing the work in great depth, we stood still in the centre of the room as the film clips swirled around us. I admired the artists response to the space and the actual work itself. I liked the floor plan, I liked the idea of the videos being projected as sculpture, I liked the subtlety of it all. We were serious upstairs, we were intellectuals.
We came downstairs, we put on gold jumpsuits. We became beings from outer space. Pawel Althamer, 'whose radical intervention transforms Modern Art Oxford into a zone for teleportation' did a wonderful job of creating something completely interactive. At one point I managed to persuade everyone I was with to lie on the floor in those gold suits. It was fun, we had our photos taken, there's some footage somewhere too. Also, we met Sir Nicholas Serota.
Once we were asked to leave, still wearing the golden suits, we decided to head to Turf Tavern, where we drank more wine, we then ended up in The Cellar. There were accordions, gypsy, Balkan style folk, punk, Jewish music coming from an amazing band, wearing great hats, we were all clapping, shouting 'hey' and dancing our feet off! Wonderful. The walk home was interesting, we met some right characters, saying that though we were dressed like gold bananas, it was bound to strike up a few questions. I went to the exhibition opening at 6pm Friday, I went to sleep around 6am on Saturday morning.
Saturday:
After sleeping in until midday, I woke up, showered, got dressed and headed down to the studio with some friends, we put on the golden suits we walked home in and we walked into the city centre. We had our photos taken afew more times and we finally ended up at Modern Art Oxford. We had missed the walk, we thought it started at 3pm, it started at 11am. We decided to have tea and cake in the cafe as our walk was probably just as interesting as the official one would have been. Two of us gave our suits back to the artist via the coat hooks provided. The other two kept the suits. We were given a choice.
Sunday:
I slept most of Sunday, watched a lot of films as usual and completed the rest of my developmental drawings and sketches for a possible sculpture.
After a hard day in the print making work shop, I attended a private view at Modern Art Oxford, Miroslaw Balka: Topography upstairs and Pawel Althamer: Common Task downstairs. Free wine in the cafe. It was absolutely wonderful. Upstairs, my two friends and I were discussing the work in great depth, we stood still in the centre of the room as the film clips swirled around us. I admired the artists response to the space and the actual work itself. I liked the floor plan, I liked the idea of the videos being projected as sculpture, I liked the subtlety of it all. We were serious upstairs, we were intellectuals.
We came downstairs, we put on gold jumpsuits. We became beings from outer space. Pawel Althamer, 'whose radical intervention transforms Modern Art Oxford into a zone for teleportation' did a wonderful job of creating something completely interactive. At one point I managed to persuade everyone I was with to lie on the floor in those gold suits. It was fun, we had our photos taken, there's some footage somewhere too. Also, we met Sir Nicholas Serota.
Once we were asked to leave, still wearing the golden suits, we decided to head to Turf Tavern, where we drank more wine, we then ended up in The Cellar. There were accordions, gypsy, Balkan style folk, punk, Jewish music coming from an amazing band, wearing great hats, we were all clapping, shouting 'hey' and dancing our feet off! Wonderful. The walk home was interesting, we met some right characters, saying that though we were dressed like gold bananas, it was bound to strike up a few questions. I went to the exhibition opening at 6pm Friday, I went to sleep around 6am on Saturday morning.
Saturday:
After sleeping in until midday, I woke up, showered, got dressed and headed down to the studio with some friends, we put on the golden suits we walked home in and we walked into the city centre. We had our photos taken afew more times and we finally ended up at Modern Art Oxford. We had missed the walk, we thought it started at 3pm, it started at 11am. We decided to have tea and cake in the cafe as our walk was probably just as interesting as the official one would have been. Two of us gave our suits back to the artist via the coat hooks provided. The other two kept the suits. We were given a choice.
Sunday:
I slept most of Sunday, watched a lot of films as usual and completed the rest of my developmental drawings and sketches for a possible sculpture.
Sunday, 13 December 2009
Robert Southey.
'No distance of place or lapse of time can lessen the friendship of those who are thoroughly persuaded of each other's worth.'
Thursday, 10 December 2009
Tuesday, 8 December 2009
Swinging.
I can't believe I've finally finished it, my critical analysis on a piece of work made between 1880 and 1960.
Dear Kandinsky,
I've become even more obsessed with prisms and the ways in which light can be refracted and reflected due to your painting. I've started to see triangles everywhere; I'm starting to see circles orbiting my head as I wander the empty streets.
Every time the sole of my foot hits the pavement, a square forms underneath it. I'm constantly followed by a beam. My world has become a swirling abyss of colour, I am a complex checkerboard.
Dear Kandinsky,
I've become even more obsessed with prisms and the ways in which light can be refracted and reflected due to your painting. I've started to see triangles everywhere; I'm starting to see circles orbiting my head as I wander the empty streets.
Every time the sole of my foot hits the pavement, a square forms underneath it. I'm constantly followed by a beam. My world has become a swirling abyss of colour, I am a complex checkerboard.
Visible.
In his ‘Creative Credo’ (1920) Paul Klee wrote,
'Art does not reproduce the visible; rather it makes visible... formerly we used to represent things visible on earth, things we either liked to look at or would have liked to see.'
'Today we reveal the reality that is behind visible things, thus expressing the belief that the visible world is merely an isolated case in relation to the universe and that there are many more other, latent realities… Art is a simile of the Creation… Art plays an unknowing game with ultimate things, and yet achieves them!'
'Art does not reproduce the visible; rather it makes visible... formerly we used to represent things visible on earth, things we either liked to look at or would have liked to see.'
'Today we reveal the reality that is behind visible things, thus expressing the belief that the visible world is merely an isolated case in relation to the universe and that there are many more other, latent realities… Art is a simile of the Creation… Art plays an unknowing game with ultimate things, and yet achieves them!'
Sunday, 6 December 2009
Working.
A critical analysis on a piece of work made between 1880 and 1960. I need to write this. I'm not being rude. No distractions. Deadline. Assignment. Literature. Sigh.
Goethean Methodology.
The Four Stages.
1. Exact sense perception.
2. Exact sensorial fantasy.
3. Seeing in beholding.
4. Being one with the object.
1. Exact sense perception.
2. Exact sensorial fantasy.
3. Seeing in beholding.
4. Being one with the object.
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