bec wonders

Art and Science: A collaboration

noreply@blogger.com (bec) — Wed, 13 Mar 2013 21:04:00 +0000

WEARABLE: A collaboration between myself, Edinburgh College of Art and the Edinburgh Neuroscience Department. Will be on display during the Neuroscience Day at the Royal College of Physicians 20th March 2013.

Over the past two centuries, within the natural sciences, the visual representation of scientific theories has become an essential and integral part of communication and understanding among scientists. Even more important is visual representation for the popularization of science, bringing science to the public, especially in our age of multi-media mass communication.

Adding a further dimension of popularization to the neuro-scientific work, I printed both patterns onto silk twill textiles and made these into various garments. A very specialized kind of knowledge is thus presented to a public that is most likely is completely unfamiliar with this significant biomedical research. My idea is to burst the bubble of secluded research and open it up to the general public and give them the opportunity vicariously to participate by wearing clothes that give expression to the research and theories on which many modern biomedical advances depend.

My work, entitled WEARABLE, looks at the subject matter of neuroscience and

its function as a whole. I am interested in looking at a specialized topic from a non-specialized point of view. To me as an artist, it is an exciting challenge to translate white coat lab work by bringing it from behind locked doors to the outside world.

My Interview with Summerhall TV

noreply@blogger.com (bec) — Mon, 11 Mar 2013 10:34:00 +0000

Bec Wonders : Step Inside from www.summerhall.tv on Vimeo.

"Step Inside" Exhibition at Whitespace

noreply@blogger.com (bec) — Wed, 06 Mar 2013 19:54:00 +0000

Step Inside is an exhibition that I recently had at Whitespace in Edinburgh.

The show is called "Step Inside", as the viewer actually gets to Step Inside my painting. It
includes painted walls, floors and every piece of furniture inside the painting.

My goal with this project is to reach out to the general public instead of just the fine art world.

Someone with no background in fine art will still have a direct relationship towards the painting,
because as soon as they step foot in the gallery, they will find themselves inside
the painting. I do not only want to make art for art's sake, but instead take an active stance
in the art world, rather than a passive one.

With regards to the actual painting, there is no shadowing or negative space, the only reason
why we can identify objects within the painting is because of the different angles of the
pattern. (Everything is hand-painted)

More about the show: www.becwonders.com

Thanks to talented photographers Jake Howe and Charlie Moon!

Photographer: Jake Howe

http://www.flickr.com/photos/jakehowe/

Photographer: Charlie Moon

www.twitter.com/charliemoontm

www.charliemoontm.tumblr.com

Update: My three current projects

noreply@blogger.com (bec) — Mon, 26 Nov 2012 12:33:00 +0000

Finally an update! I'm currently working on three different projects of which none are finished!

The first project is based on my meat triptych. I painted different animal parts in pattern and then later converted them onto textile. My designs are currently in construction (here is a little preview), and soon the collection will be photographed and on my webshop!

My idea: I'm sick of seeing fine art only on a white wall. Often times ones has to be in the right state of mind before even going in to a gallery. By exposing something traditional (painting) in a contemporary way (fashion), I can access a completely different audience with an unfamiliar subject matter.

My second project: I am currently painting a 2.5x3m canvas. The subject matter is of a generic room engulfed by a pattern designed by myself. I had custom colors made so I can just paint out of the tin. It's a very mechanical and clinical way of working, which I really enjoy. I am the machine in this scenario. When it's finished (which will be in a few weeks), I am going to re-create the room. That is, I will manipulate the furniture in the painting and paint the same geometric pattern onto the chairs and shelves. This way, the viewer will find themselves "inside" of the painting.

Dionne & Gemma

noreply@blogger.com (bec) — Sat, 20 Oct 2012 15:49:00 +0000

I had the pleasure of photographing twins Dionne & Gemma this week.

Take a look.

Today's Photoshoot: The Skeleton

noreply@blogger.com (bec) — Mon, 08 Oct 2012 21:30:00 +0000

Today was a quick, spontaneous shoot in ECA's project space with Marissa.

We looked around the school's wardrobe and picked out objects interesting to us.

One of the skulls (the one with the open top) was an actual human skull.

I couldn't help but wonder where it had been and what it had experienced.

A skeleton draped in a fur coat.

Do you understand the irony?

#SayNoToFur #SayNoToMeat

Series of three paintings: First one

noreply@blogger.com (bec) — Sat, 29 Sep 2012 12:55:00 +0000

Welcome to my process of creating a series of three paintings. I've been working on this one the past week. It depicts a lamb chop which I designed into a pattern to abstract from its original meaning and create something graphic and precise.

The next two paintings will follow the similar concept except with different objects. I think the second one will be a cow heart or any other good picture of an inner organ or animal meat that I can be inspired by.

I believe that the concept has real impact because you usually discover the subject matter before the technique, but in this case it isn't obvious what it is at first, and the technique of painting slowly unveils the subject matter. It's like discovering something new through painting. I really think I'm onto something. The only thing is that these painting take a long time so now I just want to finish the series so I know if it's going into the right direction.

Another factor that plays into these paintings is that I'm vegan and I am painting lamb chops, covering up any kind of associations that it has with vulgarity or primitivism.

Closing Festival Fireworks & The Spinning Blowfish

noreply@blogger.com (bec) — Sun, 02 Sep 2012 21:50:00 +0000

Tonight were the closing festival celebrations held around downtown Edinburgh: Virgin Money Fireworks. I'd say there's nothing better than a night with explosions in the sky!

I also got the opportunity to see a band called The Spinning Blowfish (click) while I was waiting. A contemporary take on the bagpipe, really impressive and innovative sounds. I had a blast!

NVA's Speed of Light nightwalk

noreply@blogger.com (bec) — Sat, 01 Sep 2012 10:26:00 +0000

Yesterday I participated in NVA's Speed of light nightwalk.

It was an art installation part of the Edinburgh International Festival.

Every night hundreds of runners would coordinate their running patterns into forms and shapes while wearing illuminated lights attached to their bodies. From a distance the view was simply breathtaking. As a member of the walking audience I became part of the work while carrying portable light sources set against the dark features of the hill.

Each individual performance is created by collective action, landscape and weather, offering a rare perspective on the cityscape, night skies and the sea and hills beyond.

The entire Speed of Light nightwalk was a remarkable fusion of public art and sporting endeavor. The iconic mountain is brought to life in a mass choreographed act of walking and endurance running.

Simply amazing.

Speed of Light website.

Edinburgh, Scotland

noreply@blogger.com (bec) — Fri, 31 Aug 2012 10:30:00 +0000

Here are some pictures of my first three days in Edinburgh:

Budapest: Photographs

noreply@blogger.com (bec) — Sun, 26 Aug 2012 16:54:00 +0000

Here is my impression of Budapest in photographs. Take a look.

Preparing for Budapest

noreply@blogger.com (bec) — Sat, 18 Aug 2012 12:40:00 +0000

In less than 2 days I'll be heading to Budapest. I generally believe that Eastern Europe is underrated as a travel destination and can't wait to set my first steps in those areas.

Budapest houses the first subway line of continental Europe.

123 thermal springs are located throughout the city, pouring out over 80 million litres of thermal water every day.

Touching the pen held by the Statue of Anonymous apparently makes you a better writer (I'm guessing it has to do something with the fact that the ballpoint pen was invented by a Budapest-born Hungarian?)

The world's largest geothermic cave system can be found under Budapest, as well as one of the largest underground lakes of Europe.

I can't wait to take my camera into every nook and cranny of the city, hopefully not melting under the heat.

Have you been to Budapest, do you live in Budapest or do you know of anyone who has visited? I'd love to hear what favorite cafe, bathhouse, bar, ally or restaurant is!

A day in Stockholm

noreply@blogger.com (bec) — Thu, 16 Aug 2012 12:11:00 +0000

Did I ever mention how beautiful Stockholm is? I always thought I knew Stockholm pretty well, having worked there and spending many weekends there, however I guess you only know a city as much as you choose to know it. A friend and I took a day trip to Sweden's capital without any premises or obligations and discovered different corners, rivers, bridges, cathedrals, cafes and bars we had never seen of heard of before. "This is like being abroad!" we would tell each other every other minute, but then again nearly every place is like being abroad for me.

A beautiful day in a beautiful place, definitely something out of the ordinary.

Update: Sweden

noreply@blogger.com (bec) — Tue, 14 Aug 2012 12:20:00 +0000

I am most likely the worst person in the world when it comes to updating my blog regularly.

Here are some photographs of the past 2 weeks in Uppsala, Sweden.

In less than one week I will be on my way to Budapest, Hungary and almost directly after to Edinburgh, Scotland.

Get in touch if they are one of your cities!

The Importance of Unimportance

noreply@blogger.com (bec) — Thu, 02 Aug 2012 16:54:00 +0000

The world is growing, moving, wavering and material goods are lasting less time than ever before. What do we cherish, what do we keep, what gives us meaning, and - most importantly - why? There's nothing materialistic I can think of that gives me personally any sense of deep philosophical meaning. I think that I could love on easily if all my possessions would vanish this instant. Perhaps I am over-exaggerating as this is easier said than lived through, however I've thought about this for a while now and I believe that the only form of pain I would feel, were all my belongings to disappear, would be the pain of alteration in rhythm and habit. I struggle with the idea of building my identity around physical possessions. Everyone is always surprised when I tell them that I basically only have one canvas to paint on and cover it up for each new painting. The physical result that exists after I paint something only is significant to me if I have the opportunity to sell or exhibit it. Other than that - physical objects never evoke any kind of emotional importance within me. The artwork I create is inside my head, inside my body and it helps me evolve to the next stage of sophistication in expressing my thoughts visually. In other words - I do not pay attention to the product, the feasible, the touchable, the attainable - but rather the idea, the growth and the philosophy of how and for what reason I created this artwork - and then, of course, what the next stage will be.

How real our "fantasies" really are: El Museo de Arte Contemporáneo

noreply@blogger.com (bec) — Mon, 02 Jul 2012 23:42:00 +0000

As some of you might now I am in Barcelona at the moment and will be staying here for the entire month of July. So far it's been beautiful and hot and I have yet to explore the essentials.

Here's an extract from my diary today:

"At the Contemporary Art Gallery I realized something about myself. I saw a slideshow containing photographs of burlesque dancers performing on stage. I appreciated the composition, the colors, the politics and the context of the image, however it did not grip me in an interesting way. It wasn't until there was a photograph of the audience watching the dancers that some real interest in me was awakened. What brought them there? Why were they watching this? Did they have wives? Why are there only men? What are they thinking? I realized I wasn't interested in the objects of desire, the thing you're supposed to be interested in and photograph, but rather the cultural phenomena behind the beauty. In other words: Why those dancers are beautiful and what drives us to enforce this notion? This type of visual language is something invented by us as a form of short-term intoxication by erasing the reality outside the cabaret. Even though mostly invented by men and for the sole purpose of man's pleasure (during the time it took place), these women have constructed dreams, fantasies, hopes, careers and their own realities around it. When someone walks in and pays to see these girls dance, they may be thinking of nothing else but escaping reality - however they are also simultaneously supporting the immediate reality of these women. "One man's fantasy is another man's reality" - if this isn't a saying already then it is now. Those photos awakened a kind of deeper interest within me and made me realize that instead of merely looking at the surface (colors, brush strokes, shapes, etc), I like to look at the reactions, social phenomena and reasons of existence behind artworks. Why are these things beautiful? What makes them beautiful? Why are they still considered beautiful today? I think this particular photo exhibition made me think of how real our "fantasies" really are. I also showed me how the viewers of burlesque dancers chose to ignore reality rather than facing up to their own reality of achieving their fantasies. This applies to the majority of the population.

Fantasies are powerful and often we are more afraid of them than we realize."

Some photos from today:

New Paintographs

noreply@blogger.com (bec) — Sun, 24 Jun 2012 15:23:00 +0000

Here are some new paintographs! I painted all of them in the last few days and plan to continue painting more today - I'm in the flow of inspiration at the moment and it's always best not to stop!

By combining paint and photography I want to juxtapose two contrasting products of popular culture and say that, although originating from different time periods, they somehow serve the same function - historically and socially. I could ramble on for hours but first and foremost: Take a look.

Portfolio Update

noreply@blogger.com (bec) — Fri, 22 Jun 2012 22:07:00 +0000

I know, I know, I know! I've horribly bad at updating my blog and portfolio lately. That's why this post is completely dedicated to some of my favorite photographs since March! I went through the thousands of files filling up my laptop and chose these photos to sum up the past few weeks. Hope you enjoy!

Thanks to models Rachael Em, Julie Caballero, Elli Blakeman, Michella Domo, Ruby Astell, Nita Bowerman, Ana Gaeta and stylist Michael Black!

How We Judge Art in a Consumerist Society

noreply@blogger.com (bec) — Wed, 13 Jun 2012 02:52:00 +0000

Review of the exhibition “LIGHTS OUT! Canadian Painting from the 1960s” at the Vancouver Art Gallery

As an artist myself I feel immense pressure in today’s society to be original and new. During my visit to the Light’s Out exhibition I realized this pressure even more, as I overheard how merely a grey canvas was being judged as lazy by viewers. Originality to me is not something that the artist strives for, it is solely a byproduct of their creativity. In today’s fast-paced world I think the importance of so-called “simple” works that do not conform to our consumer standards are easily overlooked which encourages sociopolitical ignorance of the past.

Upon entering the Vancouver Art Gallery on a Tuesday night I and a group of friends had no idea that Canadian Painting from the 1960s would evoke such heated conversations amongst us. The powerful political impact of art can be underestimated nowadays when the art scene has become part of our liberal everyday lives. Abstract art from the 60s is often not understood in our day and age, as the forms and techniques seem almost so elementary and simple that we deem it not worth seeing. The public majority of our 21st Century generation will share the view of Michael Fried, a formalist critic who objected to minimalist work because of its “theatricality”, meaning that it was too dependent on the engagement with the physicality of the spectator and could not stand on its own. Yet changing a culture’s norms and values by challenging them from within is exactly what the visual language of 1960s painting represented!

The first reactions I noticed when walking into the exhibition was “Boring”, “Too simple” and “How come this is in an art gallery?”. If we are ignorant of the social or political origins of these paintings, the mere visual language and primary impression imply that we have oversimplified prejudices regarding abstract art. The 1960s were regarded as a “counterculture” and a kind of “social revolution”: A time when racism and sexism were forcibly protested. The problematic confrontation of social and political problems is something that defines avant-garde art which challenges stereotypical Western visual languages. The minimalist artists used a radical new visual language to question conservatism and provoke the public with size, form and color. Large scale paintings were traditionally meant for historical and formalist paintings, however the abstract movement of the 1960s combined this large scale with minimal shapes and colors, taking a stance against political control and provoking the public with this unconventional size. These artists challenge the illusions of the modern and critique the contemporary life, a visual language that for us has become part of our everyday life and therefore seems inappropriate and mundane to exhibit in a gallery.

My initial reaction to the geometric simplicity of abstraction questioned the actual definition of Abstract Painting. A square is the most realistic depiction of a square, a circle is exactly that: A circle. There seem to be problematic concepts surrounding Abstraction, however this isn’t what minimalist artists were concerned with. Ad Reinhart, a Minimalist artist from the Abstract Expressionist generation, states that “The more stuff in it, the busier the work of art, the worse it is. More is less. Less is more. The eye is a menace to clear sight. The laying bare of oneself is obscene. Art begins with the getting rid of nature.” Artists across the country experimented and challenged traditions, changing the shapes of canvases from the traditional rectangle, using new vibrant acrylic paints, incorporating plaster to create low relief and drilling holes in the surface.

The most controversial painting in the exhibition was Yves Gaucher’s Untitled, 1968: A big grey area of canvas from edge to edge. Across the surface are three stripes of lighter grey both at the top and bottom, making up the color of the surface grey. They create the illusion of shaping the canvas from a distance and more closely look like little tears of openings in space: the lighter stripes at the top while the darker stripes are at the bottom. Perhaps it doesn’t appeal to the majority of our generation because it seems easy and uncomplicated.

I argue otherwise. I can agree that this painting did not take as long or was as full of labor as Michelangelo’s Sistine Chapel, however that does not mean that it is in any sense worse. The artist intentionally painted the canvas grey which was a calculated decision, he did not just leave it white. His piece may seem simple, however within the simplicity and minimalism lie deep thoughts and socio-political phenomena. There is a reason for this painting to be merely a grey background with six stripes that go beyond just the formal aspects. When Gaucher’s painting was first exhibited at the Vancouver Art Gallery in 1969, senior curator Ian Thom described it as if “all the paintings [had] the same color. It was only after you spent some considerable amount of time in the space, that you realized that the paintings were purple grey, some were red grey, some were blue grey and so on.”

When I was walking through the exhibition I heard whispers such as “I could paint this”, they said. Yes, well, you didn’t. The work is set out to expose the essence, essentials or identity of a subject through eliminating all non-essential forms, features or concepts. Our consumerist culture is set on understanding things fast and easily, categorizing art as being an immediate and simple pleasure. I will not deny that such art exists, nevertheless in order to appreciate and grasp contextual values which embody conceptual and abstract art, the viewer must be informed in order to make a decision whether it is good or bad art.

My point with this review of an abstract exhibition is to highlight how easily we are prone to overlook the importance of the seemingly simple and how an open-minded and curious outlook on not just art, but life, can help the individual become far more knowledgeable than a viewer that has already decided what is “good” and what is “bad”.

Some of my Sounds

noreply@blogger.com (bec) — Wed, 23 May 2012 23:16:00 +0000

Me playing around with some African, Indian, Orchestral and Electronic beats ends up in this.

Have a listen!

New painting: Cracked Open

noreply@blogger.com (bec) — Fri, 18 May 2012 22:11:00 +0000

Here's one of my new paintings, entitled "Cracked Open"

(24 x 36 inches / 61 x 91 cm).

Time: ca 13 hours

Medium: Acrylic on Canvas

Closeups:

A Paintograph: My Mutewatch and I

noreply@blogger.com (bec) — Wed, 09 May 2012 07:12:00 +0000

I thought it was time to paint myself with my Mutewatch since it has really helped me during my process. I try to avoid having phones around when I paint so it is perfect to increase my time efficiency without being disturbed by the outside world.

Medium: Acrylics

More Paintography: www.facebook.com/becwonderspage

More new Paintings!

noreply@blogger.com (bec) — Sat, 05 May 2012 22:14:00 +0000

After a whole days work - here they are!

It again deals with similar issues as the painting in this post.

Size: 24 x 36 inches in acrylic on masonite

And this one is 30 x 40 inches on canvas!

Some new paintings

noreply@blogger.com (bec) — Thu, 03 May 2012 00:32:00 +0000

Here are a couple new artworks I finished. They are both pretty big (24 x 36 inches / 61 x 91 cm).

I attempt to demonstrate the problematic influences when forming ones own identity.

(Acrylics, 12 hours)

thank you to the talented inkje / photocase.com for stock photography!

This one is a self-portrait:

(Acrylics, 1 hour)

And thanks to these following talented photographers for letting me research their photos of hands:

inkje / photocase.com, apl_d200 / photocase.com, una.knipsolina / photocase.com, marshi / photocase.com, C/L / photocase.com, der alex. / photocase.com, mediachris / photocase.com, Fiff14 / photocase.com, MMchen / photocase.com, pischare / photocase.com, kallejipp / photocase.com, IS2 / photocase.com!

REVAMPED WEBSITE

noreply@blogger.com (bec) — Sat, 21 Apr 2012 19:24:00 +0000

I decided to redesign my website from scratch! Take a look!

New paintings & photographs

www.becwonders.com