Exams 2007 Studio Art Drawing Concentration Alexandra Snowden

Alexander Gorlizki: We are Union (2012)

Alexander Gorlizki: We are Marriage (2012), 30x25cm, Pigment and Gilt on Newspaper. Part of the Collection since 2014.

"There'southward a common assumption that the "miniature" in Indian miniature paintings refers to the size of the artwork. While they were near commonly mitt-held manuscripts to be lingered over in close proximity rather than viewed on a wall, some of the paintings were quite large and the atomic refers to the artists' brushes, the finest of which are tipped with a unmarried squirrel hair.

Information technology's mesmerizing to watch a main miniature painter at work. The quiet, intense focus, the occasional barely perceptible property of the artist's breath, as if the slightest exhalation might interfere with the hand muscles and distort the lines (which are indeed jiff-taking in their effeminateness). In this tradition, concentration is everything: the painting is either perfect or it'due south wrong.

The painter'south language is revealing. You demand "soft easily" to achieve such tender subtlety but "forcefulness" too because information technology demonstrates the clarity of vision, an unwavering steady hand, and clear intent. This is true even when painting a leaf in the margin but particularly and so when applying the "cut" or the outline that delineates the face up, which is the ultimate test for the primary painter.

If softness, delicacy, force and concentration are essential qualities in the making of a miniature painting (or the finest lace, wood etching or silvery filigree work for that affair) they also play a part in how we expect at them. In slow, conscientious looking, you feel the centre equally a muscle focusing in on the infinitesimal details and tracking patterns where they exist. An intense relationship develops in the intimate space betwixt the object and the viewer. It's the same distance and a like connection that before existed between the object and the creative person and this forms an empathy and kinship betwixt the maker and the viewer. (…)

To begin, why do we equate size with power? Are mass, volume and weight always implicitly associated with forcefulness or fragility? Public sculptures jubilant national pride, military conquests or heroic achievements rely on scale to capture public attention, to be seen by more than people and from a greater distance. Giant artworks outside financial institutions or in corporate lobbies imply largesse in relation to wealth, value, and status. Cathedrals were congenital to subsume us, to remind the congregation of our ain insignificance in relation to the almighty. In these contexts, size is equated with a form of power that's used to impress, possess, dominate and even oppress. Power exists because it's held over another.

The notion of ability is yet notwithstanding essentially symbolic or metaphorical, rooted in concepts of the dominant belief system. In that location are of course alternative forms of power. The magic powers of a talisman worn in a pouch circular the neck, a lucky amuse kept in
one's pocket, or a cherished photo; all these may be profoundly powerful objects for the individual. Edward Snowden's thumb-drive that held thousands of NSA documents can signify the fundamental modify in how we perceive the State. The paradigm of a unmarried bullet has enormous symbolic ability, equally does a diamond wedding ceremony band.

While these objects may be viewed as having innate qualities, we cull to invest them with our ideas of power and relevance, only this is equally true of whatever qualities we projection onto a gigantic Richard Serra sculpture. It's merely stuff."

Alexander Gorlizkis own words in the introduction to "A Concentration of Power", group show curated by Alex Gorlizki in London, Joost van Bergh (Decembre 2018-Jan 2019).

Portray of Alex from Martin Kudleks website:

"Alexander Gorlizki's immersion in the globe of Indian Miniature paintings over the past fifteen years has yielded an eclectic body of work, often with startling results. Fascinated by the forms, sensibility and techniques of Mughal miniatures, Gorlizki has sought to incorporate his ain visual language into the 600-twelvemonth-old tradition with a subversive reverence.

In 1994 he established a studio in Jaipur's old city with Riyaz Uddin, a master miniaturist painter. Having spent over a decade copying traditional miniature paintings for the local tourist market, Uddin had adult a mastery of the technique, rendering infinitesimal details with absolute precision.

Gorlizki conceptualizes and draws out the iconography, patterns, compositions and colour schemes onto antiquarian or distressed papers and photographs. Uddin then applies jewel-coloured pigments and gold leaf with a single-pilus-tipped brush to create works of breathtaking intricacy. Working side by side in the studio or shipping images back and forth between New York and Jaipur, the paintings evolve layer by layer, oftentimes over a period of years.

In that time the studio has developed into an atelier in which up to nine artists with different areas of expertise work on the paintings, often passing the work from hand to manus. Gorlizki believes that working in collaboration leads to a rich dialogue yielding unexpected results, while at the aforementioned time exposing the participants to a wealth of specialized skills and knowledge. The trans-global collaboration represents a cantankerous-fertilization that is every bit valuable as the finished work of fine art. […]

Gorlizki draws on a diverse diverseness of sources. Elements from Victorian plumbing manuals are juxtaposed with ornithological studies and transposed onto film stills of Hollywood stars. Patterns from English knitting catalogues combine with Tantric cosmology. Austere minimalist forms are overlaid with rampant patterning on 150-year-old paper. Camels float in space and topiary sheep nibble topiary crucifixes.

The works can be sensually compelling and simultaneously awkward and unnerving. Whilst some paintings are embedded with irony and humor, others vacillate betwixt the mythical and bland, the mysterious and the everyday. The results are idiosyncratic gems that smooth and glow." 
Joost van den Bergh

Alexander Gorlizki / Curriculum Vitae

1967 born in London/ UK
1994 MFA in Sculpture, Slade School, London/ U.k.
1992 B.A. Hons Fine Art, Bristol Polytechnic/ United kingdom
1991 Foundation Course in Art and Pattern, Bristol Polytechnic/ U.k.
Currently lives and works in New York/ USA.

SOLO EXHIBITIONS

2017 Pink City Studio Beyond Malabar Gallery, Kochi/ IN
2016 Subtle Bodies, Saucy Lines, Galerie Martin Kudlek, Cologne/ D
2015-2016 Variable Dimensions, Crow Drove, Dallas/ USA
2015 Special Presentation, Van Doren Waxter, New York/ USA
2014 We Are 1, Galerie Eric Mouchet, Paris/ F
What Gives?, Baldwin Gallery, Aspen/ USA
2013 Are Nosotros In that location Yet?, Galerie Martin Kudlek, Cologne/ D
For Immediate Release, Van Doren Waxter, New York/ USA
2012 We Like It Here, We're Not Moving, Jhaveri Gimmicky, Mumbai/ IN
2011 Terms and Conditions Apply, Kudlek van der Grinten Galerie, Cologne/ D
2010 The Commencement Time I Heard You Blink, Greenberg Van Doren Gallery, New York/ USA
Pre-existing weather condition, John Berggruen Gallery, San Francisco/ Us
2009 Appointments & Disappointments, Kudlek van der Grinten Galerie, Cologne/ D
Soft Delicious Sublime, Daniel Weinberg Gallery, Los Angeles/ USA
2008 Lunchmeat on my Pantsuit, Gallery Joe, Philadelphia/ USA
What grows here?, Joost van den Bergh Gallery, London/ United kingdom of great britain and northern ireland
Gallery Joe, Philadelphia/ U.s.
Alexander Gorlizki & Indian Spells, Ingleby Gallery, Edinburgh/ United kingdom of great britain and northern ireland
Strange you can believe in, Daniel Weinberg Gallery, Los Angeles/ USA
2007 Works on Paper, Kudlek van der Grinten Galerie, Cologne/ D
2006 Pipedreams, collaboration with Riyaz Uddin, Joost van Bergh Gallery, London/ United kingdom of great britain and northern ireland
2004 Plastic Mystic, Huddersfield City Fine art Gallery/ UK
Genuine Fake, Martin Kudlek Gallery, Cologne/ D
Out of This World, collaboration with Riyaz Uddin, Ben Jannsen Gallery, London/ UK
2003 Classroom, PS122 Project Infinite, New York/ The states
Incoherent, in Collaboration with Riyaz Uddin. Ben Jannsen Gallery, London/ Britain
North Sea Circle – Viewer'due south Cut, in collaboration with Richard Coldman, Globe Gallery, North Shields/ United kingdom
2000 Introspektive, Martin Kudlek Gallery, Cologne/ D
Import/ Export, Vilma Gold Gallery, London/ Britain
1999 7 (Unknown) Famous Belgians, De Chiara/ Stewart Gallery, New York/ United states
1997 Alexander Gorlizki Collection, RAU, London/ UK
1995 24 Crucifix Lane, Bermondsey, London/ UK

GROUP EXHIBITIONS

2017 Washington 186, Aeroplastics Brussels/ B
Thinking Tantra, curated past Rebecca Heald, Peninsula Arts, Plymouth/ US
Zeichnung 17, Michael Sturm Gallery, Stuttgart / D
Cartoon Biennial 2017, The Drawing Room, London/ UK
2016 LIMINAL LYRICS, curated by Hedwig Brouckaert, KUNSTRAUM Gallery, Brooklyn, NY/ U.s.
Thinking Tantra, The Drawing Room, London/ UK
Traversing Traditions/India, curated past Kathryn Myers, Lease Oak Cultural Center, Hartford, CT/ Us
Le Contemporaine Dessiné, Musée des Artes Décoratifs, Paris/ F
2015 Hoogtepunten uit de collectie, Museum de Buitenplaats, Eelde/ NL
2013 40 Years At The Daniel Weinberg Gallery, Ambach and Rice, Los Angeles/ USA
Considering Collage, Jhaveri Contemporary, Bombay/ IN
Budgeted Infinity: The Richard Greenish Collection of Meticulous Abstraction,
Crocker Art Museum, Sacramento/ United states of america
2012 Acquit Necessities, John Berggruen Gallery, San Francisco/ U.s.a.
Embellised Reality: Indian Painted Photographs, Imperial Ontario Museum/ Tin
Walking the Line Four, Galerie Martin Kudlek, Cologne/ D
2011 Espaces de destins – espèces de dessins, Le Dix-neuf, CRAC Montbéliard/ F
Walking the Line Three, Kudlek van der Grinten, Cologne/ D
Watching Me Watching Yous, Denver ARt Museum, Denver/ U.s.
The Art of Giving, John Berggruen Gallery, San Francisco/ U.s.
2010 Walking the line 2, Kudlek van der Grinten Galerie, Cologne/ D
Bestiary, The Wassaic Project, Wassaic, NY,
curated by Emerge Morgan Lehman, Liz Parks, Sally Zunino, New York/ U.s.a.
2009 Cartoon, Valerie McKenzie Fine Art, New York/ USA
On Paper, Galerie Karsten Greve, Paris/ F
Another Damned Cartoon Show, Daniel Weinberg Gallery, Los Angeles/ USA
2008 Conversations, Kettles Yard, Cambrige/ Britain
Newfangled Licks, Geoffrey Young Gallery, Smashing Barrington/ USA
Wir für Euch, Kudlek van der Grinten Galerie, Cologne/ D
Walking the line, Kudlek van der Grinten Galerie, Cologne/ D
Information technology's Gouache and Gouache only, Jeff Bailey Gallery, New York/ USA
2007 Timothy Taylor Gallery, London/ United kingdom
2006 The side by side Doing, Geoffrey Young Gallery, New Barrington/ The states
Tabular array Pinnacle, Josee Bienvenu Gallery, New York/ USA
Fine Line, Adam Baumgold Gallery, New York/ USA
2005 Drawings, Martin Kudlek Gallery, Cologne/ D
2004 Project Artists, PS122 Studios, New York/ USA
2001 Drawings, Curated by Shirley Morales, De Chiara Gallery, New York/ USA
The Globe, Kunstlerhaus Palais Thurn und Taxis, Bregenz/ A
DarkLight, Martin Kudlek Gallery, Cologne/ D
2000 Where Accept All The People Gone?, De Chiara/ Stewart Gallery, New York/ United states
Drawings, Martin Kudlek Gallery, Cologne/ D
1999 RWA Sculpture Triennial, Royal West of England University, Bristol/ U.k.
Father Apollinaris Said, Curated past Adrian George. Vilma Gold Gallery, London/ UK
1998 Absolut Cobblers, The Concourse Gallery, Barbican Centre, London/ United kingdom of great britain and northern ireland

CURATED EXHIBITIONS

2002 Restless Spirits, Martin Kudlek Gallery, Cologne/ D
2001 DarkLight, Martin Kudlek Gallery, Cologne/ D

BIBLIOGRAPHY

2011 Crow, Kelly, "At Arsenal, Fast Nutrient, 3-D and Some New Large Guns,"
The Wall Street Journal, Saturday / Dominicus March 5-half dozen, C14. (illus.)
Leigh, Bobbie, "Big Deals and Big Win at the Arsenal," www.luxist.com, March 5 (illus.).
2010 The Millbrook Independent, "Wassaic Project'due south Bestiary," Wednesday, June thirty.
Smith, Roberta, "Alexander Gorlizki: The Showtime Time I Heard You Blink,"
The New York Times, April 29.
Baker, Kenneth, "Alexander Gorlizki echoes Republic of india at Berggruen," San Francisco Chronicle, Baronial 7.
2009 LA Times, "Revisiting the fine art of the minitature," Fri, November 13, 2009.
Kunstforum, March.
2008 Smith, Roberta, "Fair Goes From Banquet to Tasting Card," The New York Times, March xv.
2007 Eden, Laura, "Alexander Gorlizki," Elle Décor, Dec.
Herbert, Martin, "Paper Baglady and Other Stories," Time Out, London, July.
2000 "Kunst des Absurden," Kölner Stadt-Anzeiger, November 26.
Mattes, Steffan, Megacult.net.
Artist Newsletter, May, p.10.
Millennium Monument Magazine, September.
1996 Smith, Roberta, "Thaw," New York Times, September 13, p. C 30.
Hornor, Dave, "At Art in General, 'Thaw' Follows in Footsteps of 'Frieze.'"
The Tribeca Tribune, November. 2, p.28.
McClure, Lisa, Review Mag, September 15, p. 28.

PUBLICATIONS

Vanishing Point, 2009.
What Grows Here?, exhibition catalogue, 2008.
Bart, Roland, The Globe Catalogue, 2007.
EG 2006 Briefing Catalogue, 2006.
I Dear You If You Love Me, Ed: 175, 2000.
The European Design Annual, 2000.
Seven (Unknown) Famous Belgians, in collaboration with Nick Eagleton, 1999.
Books past Artists, Ed. Sarah Bodman UWE, 1999.
RWA Sculpture Triennial Catalogue, 1999.
Fixture, exhibition catalogue, essay past Nick Eagleton, 1999.
Thaw, exhibition catalogue, essay by Laurie De Chiara, 1999.
Yori, Ed : 100, 1996.
And Other Drawings, Ed : 100, 1995.

SELECTED COLLECTIONS

Aspen Art Museum, Aspen, Us // Museum Kunst Palast, Düsseldorf, D // Majestic Ontario Museum, Toronto, CA // Victoria & Albert Museum, London, GB // Denver Art Museum, Denver, USA // Collection Antoine de Galbert, Paris, F // Artothèque Limousin, Limoges, F // Museum de Buitenplaats, Eelde NL

AWARDS AND RESIDENCIES

2003/2004 PS122 Studio Residency, New York
2003 The Classroom. PS122 New York
Duveen Travel Honor for research in Islamic republic of pakistan, Red china & Tibet
Research funding for publication from U.W.E. Bristol
European Design Annual 5, 2000 – Certificate of Excellence

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Source: https://www.markus-bussmann.com/2018/07/alexander-gorlizki-we-are-union-2012.html

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