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February 23, 2006

Embankment

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Embankment. Rachel Whiteread. The last visit of Tate Modern.

Guests mingle among the Uniliver Series, 'Embankment' by the British artist Rachel Whiteread, an installation filling the Tate Modern's Turbine Hall, Monday 10 October 2005. 'Embankment' which is made up from 14,000 boxes and took five weeks to install will open to the public Oct. 11 and run until April 2, 2006. EPA/Richard Lewis Rachel Whiteread

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Crazy Drawing by Choi. Feb.2006

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February 15, 2006

Happy Valentine

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Happy Birthday & Valentine Card 2006 by Reanimated & Rebirth

올해에는 더 많은 사랑을 보내드리겠습니다.
그리고 행복하세요.

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February 08, 2006

Conversation

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Dooooooooodling. 7th of Feb. 2006. by Choi Won Seok

진지한 대화는 나를 힘들고 지치게 만들지만
그안에서 나를 좀 더 면밀히 보여주고. (사실 까발린다는 표현이 좀 더 가깝겠지만)
상대방의 생각.설득력.사상.철학등을 배울 수 있기 때문에 좋은 시간이 된다.
말안에는 실수와 해답이 동시에 들어있기 때문에 항상 조심해야 한다는 생각은 잊지 말자.
상대방의 삶을 이해하려고 노력하면 불만이 없게 된다.
내 생각이 옳다는 것을 설득시키고 내편으로 만들려고 하는 노력을 하지 않으면 훨씬 좋은 관계가 성립된다. - 그건 옳고 맞는 말씀이다 -
그리고, 난 여전히 관계라는 단어에 대해서 좀 더 많은 공부를 해야된다.
이런 좋은 자리에 "너 그 쌍까풀 언제 생겼어"라고 물어보는 사람도 꼭 있기 마련이다.

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February 06, 2006

Mirror Mask

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Mirror Mask 2005 Directed by Dave McKean

Producing “MirrorMask”
All of the live action for the reality sections of “MirrorMask” were shot in and around London and Brighton. For the dream portion of the film, McKean says, “we shot our live actors in a blue-screen studio, which was difficult for them because they have to interact with objects that aren’t there.”

Early on in preproduction, McKean looked at going to a small effects studio, but it was too expensive with the overhead and production margins these studios have to have. “We couldn’t even use the Jim Henson Company to do the computer work,” he says, “because of our tight budget.”

Do It Yourself
“So, very quickly, we decided that the only way we were going to do this was to buy our own gear. So we used the effects budget of the film to buy a year’s worth of rent on a small studio space, a whole lot of computers and salaries for 16 animators.”

McKean creates all the texture maps in Photoshop. “Then I sit with the animators and set up the virtual camera moves and lights in Maya; I also give them motion references and act out some of the character parts.

“But then I’m happy to leave them alone and see how they do with a particular digital sequence; I’ve tried to give them as much freedom as possible to explore these little things in their own way.”

Element of Surprise
The impact of computers on McKean’s work affects not only his process, it affects his creative experience. “One of the things I really love the computer for, “ he says, “is that you almost get the feeling that you do when you look at someone else’s work for the first time. It’s wonderful. It takes your breath away.

“You never really get that rush with your own work, because you’re laboring over it and it develops slowly. You’ve got an abstract collage of paper and cut-and-pasted photographs, done up in a painting in various degrees of finish. You’ve got a bit of photograph coming into an illustration. Then it’s scanned. Different photographs and drawings are scanned.

“But then the computer can drag these elements together very quickly. You almost start to be surprised by your own images. It’s a lovely feeling.”

링크 1
링크 2
링크 3

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February 02, 2006

Is this the way to Amarillo?

Sha la la la la la
Sha la la la la la
Sha la la la la la

(Verse)
When the day is dawning,
On a Texas Sunday Morning
How I long to be there
With Marie whos waiting for me there
Every lonely city
Where i hang my hat
Aint as half as pretty,
As where my baby's at

(Chorus)
Is this the way to Amarillo?
Every night ive been hugging my pillow
Dreaming dreams of Amarillo
And sweet Marie who waits for me
Show me the way to Amarillo
Ive been weeping like a willow
Crying over Amarillo
And sweet Marie who waits for me

Sha la la la la la la
Sha la la la la la la
Sha la la la la la la
And Marie who waits for me

(Chorus)
Theres a church bell ringing
With a song of joy that its singing
For the sweet Maria
And the guy whos coming to see her
Just beyond the highway
Theres an open plane and it keeps me going
Through the wind and rain

(Chorus)
Is this the way to Amarillo?
Every night ive been hugging my pillow
Dreaming dreams of Amarillo
And sweet Marie who waits for me
Show me the way to Amarillo
Ive been weeping like a willow
Crying over Amarillo and sweet Marie who waits for me

Sha la la la la la la
Sha la la la la la la
Sha la la la la la la
And Marie who waits for me

Sha la la la la la la
Sha la la la la la la
Sha la la la la la la
And Marie who waits for me
(sing till fades)

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Ant Farm : 1968 - 1978

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Ant Farm (Lord, Marquez, Michels), Cadillac Ranch, 1974 (detail); site-specific installation, Amarillo, Texas. © Ant Farm.



Is this the way to Amarillo 1971 Tony Christie - M.V. with Peter Kay 2005

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