Wednesday, June 30, 2010
I see Captain Hook at the heart of many of the characters Jason Isaacs plays, so I chose Hook as the top of Jason's game. I've brought back a photo from just weeks ago and this wonderful fan art because I just realized recently that one might be based on the other.
Tuesday, June 29, 2010
I love pairing a photograph with a favorite bit of text. This passage is from "John Thomas and Lady Jane" by D. H. Lawrence. JT&LJ is, historically speaking, an earlier draft of "Lady Chatterley," but as literature, it stands alone and is often described as superior to the final version. I love them both, like fraternal twins. They are indeed very different, but in the end you know that they come from the same place.
Monday, June 28, 2010
Sunday, June 27, 2010
Saturday, June 26, 2010
As the DVD releases of Lost, Season 6, and Lost The Complete Series are approaching in August, I have a guest to recommend for your NPR radio program "Fresh Air". Henry Ian Cusick, who played Desmond, a pivotal character and huge favorite of fans, has proven himself in the closing weeks of the series to be a charming and articulate spokesman for LOST. His lovely Scottish accent has found its way into many hearts, as well as his self-deprecating humor. I do know for a fact that he has a huge following on the internet, and my personal knowledge of some of his fans supports the notion that they are bright people who would like to hear a great journalist interview him! A quick survey at YouTube would probably bring you up to date on his Lost-Finale interviews.
Thank you for the all the good interviews and reporting you have given us over the years. There are no words.....
a listener of KPBS Fm in San Diego, CA
Friday, June 25, 2010
Thursday, June 24, 2010
Wednesday, June 23, 2010
An installation of Paintings by Michele Guieu
“It’s really a group,” says Michele, “and the group could evolve…it’s possible to make this piece live.” Michele has just guided me into the space that now, for the third time, hosts a solo exhibition of her work at SDAI. Seeing the installation “Correspondences and Elevation” for the first time reminds me of what it’s like being introduced to a tall, well-built man—not overwhelming, but it holds an aura of authority, and at the same time it is a joy to visually behold, to flirt with.
In “Here It’s Peace,” Michele’s 2008 solo installation at SDAI, each piece was individually titled and owned its own space even though the whole of the show was much greater than the sum of its parts. This new show is simply one piece, one title. In 2009, in her show “C’est La Vie,” the separate canvases had a very organic relationship to one another, displayed on a mural-sized silhouette of human figures on the beach. Now in 2010, the canvases are like frames from a roll of 35mm still photo film, the images brought into soft focus by knowing that the installation’s title derives from two beloved poems by Charles Baudelaire.
Other than as a Photoshop mock-up on her computer, Michele could not see this piece in its entirety before installing it here. “There was not even enough room on the floor to do this at home.” The canvases are uniform in height and vary with widths of 36”, 48” and 60”. Their size contributes to the drama of the work—drama that is developed without being political. The emotions evoked by “Correspondences and Elevation” defy expectations of what a piece about family, home, and place should be. “I feel like I’m going forward,” Michele says. Her growth as an artist here is an expansion of the direction we saw her work take at Art Produce. The installation she did at the North Park gallery earlier this year, “Lucy, Darwin, and Me,” was a tribute to Charles Darwin, nature, science, and family.
In “Correspondences and Elevation” newer works are not seamlessly camouflaged among the older pieces. They are, instead, allowed to be bold in a way that shows a new generation has come of age in a family. Some of these canvases predate my own acquaintance with Michele and therefore predate her first solo show here two years ago. On the other hand, some of these are so new that, as I stand here a day before the opening, they are practically still wet.
For Michele, that which is personal extends to her family and the ocean and beach that she loves. Each of these frames is imbued with the sense that it is a personal favorite, each in its own flavor. The work as a whole, then, feels like a big box of See’s Candy, personally selected to include as many favorites as possible, while each individual piece is a work of art.
Michele is definitely moving forward. The newer pieces have achieved a manipulation of color and texture that I’ve never seen in her work before. “Nothing is fake,” she says. “I connect to the place I live; I’m super-connected to my family.” Interaction with nature is an inescapable theme and fact of her life. “I was choking in Paris. I need those [natural] places.”
These images come at a time when remembering natural spaces could make us profoundly sad. While “Correspondences and Elevation” doesn’t specifically address the present catastrophe in the Gulf of Mexico, it certainly addresses what we have to lose. Eighty percent of the world’s population is now urban, Michele tells me, so people on the whole are completely disconnected from nature.
Images here that are just plays on the light contrasting the dark can seem like odes to things coming apart, like sides being drawn in a battle, and can be as disturbing as deep shadowy places often are. But the political fallout of our failure to protect nature does not underlie this show; it is simply Michele’s appreciation of natural beauty.
Jane La Motte
San Diego, California
Tuesday, June 22, 2010
Monday, June 21, 2010
Sunday, June 20, 2010
Saturday, June 19, 2010
Friday, June 18, 2010
Wednesday, June 16, 2010
Tuesday, June 15, 2010
Monday, June 14, 2010
Sunday, June 13, 2010
Friday, June 11, 2010
Wednesday, June 9, 2010
Tuesday, June 8, 2010
Monday, June 7, 2010
Saturday, June 5, 2010
Friday, June 4, 2010
And finally, I couldn't leave this one out--even though it is not fan art of Eddie, it's literally a portrait of the artist's cat, named for the human Eddie Argos. I love the paw poised over the keyboard, ready to write some amazing lyrics.