Collage studies with paper for bigger paintings (I think I´ll turn them into necklaces - what do you guys think? )

Accidental roads… the ones shaping us #reviewingoldies #painting #art #artists #oil #colors #littleones

Tássia Bianchini, Favorite poems - 2014

Oil and gesso on paper - 25 x 36 cm

“To know that one does not write for the other, to know that these things I am going to write will never cause me to be loved by the one I love (the other), to know that writing compensates for nothing, sublimates nothing, that it is precisely there where you are not—this is the beginning of writing.” Roland Barthes

"Ela disse que tinha medo que ele se perdesse nessa viagem, a caminho desse país enorme e misterioso. Ele disse que as pessoas de perdem nos lugares mais pequenos, no vazio da alma." José J.Junior

"She said she was afraid he would loose himself in this jorney, to this huge and mysterious country. He said people get lost in the smallest places, the void of the soul." José J.Junior a.k.a chamaefumo

(Poor translation by myself)

The practical facets of painting are ignored in essence. We theorise about being in the world because we find ourselves in that world, drawing from a sense of habitation and presence – a shared feeling of tenancy. We discuss poetry and writing by referencing text – utilising known words to analyse. In our understanding of painting however, the limitations imposed by the non-communicability of a physical element lead us to disregard these elements as a messy physical side-effect of the finished works. We talk about painting with regards to what we see, rather than what we know, or what we think the artist may have felt, in order to communicate. The physical minerals of the painted work however, are crucial to developing a known understanding – one that is felt, rather than thought.

All day organizing everything (no idea i had so much material! Hah) just found this forgotten little darling at the bottom of the case

thejunglepaper:

"Nature loves courage. You make the commitment and nature will respond to that commitment by removing impossible obstacles. Dream the impossible dream and the world will not grind you under, it will lift you up. This is the trick. This is what all these teachers and philosophers who really counted, who really touched the alchemical gold, this is what they understood. This is the shamanic dance in the waterfall. This is how magic is done. By hurling yourself into the abyss and discovering its a feather bed." - This #MondayMantra was spoken by #TerenceMcKenna. This #ocean was shot by #PetrosKoublis for #InLandscapes.

I don’t like the idea of “understanding” a film. I don’t believe that rational understanding is an essential element in the reception of any work of art. Either a film has something to say to you or it hasn’t. If you are moved by it, you don’t need it explained to you. If not, no explanation can make you moved by it.
— Federico Fellini

(Source: jolyon22)

On Saturday 6th September several of the artists selected for the CCAM Summer Residency presented work developed throughout this time. The exhibition took place in 126 Gallery and included a film screening by Conall Cary and the reading of a paper by Christina Mullan on the Materiality of Painting. The artists included Conall Cary, Heather Macali, Marielle McLeman, Christina Mullan, Tassia Bianchini, Elodie Rei and the five members of Itsa Collective.

Photos and text:  Christina Mullan