I recognize the "T" of tabacchaio, faintly in the background. That's all I can relate to the title "respiratore". Can you tell me a little about the stream of black marks, the two bulbous objects and the masking tape? That's if there is a narrative to the image - otherwise please just say a few words on the image and why you think it worthy of exhibiting. Many thanks. /j-p.
hi john-paul and enrique! this srawing is about the idea that we, inhabitants if this planet, are simply "filters" attached to a chain where all the other beings are also filtering, cleaning. the small dots would represent in this case water flowing through our bodies. the t has nothing to do with this drawing, but with the one next page...but washing a tabacchi T is always worth doing, isn't it?!
Patricia, woran liegt es nur, dass ich deine Zeichnungen so sehr mag? Ich hoffe nur, dass Du vor lauter grünen Linien das Zeichnen nicht ganz vergißt. Nicht gegen die grünen Linien, das weißt du, aber ohne diese Zeichnungen würde ich jedenfalls deine Linien nicht verstehen. Liebste Grüße
Hey Patricia... what an odd thing to do! I find it really interesting though and loaded with meaning - symbolic and otherwise. However I'd like you to make this a "Studio Log" project so it'll be easier to follow the development of the idea over time. Thanks. /j-p.
An arresting image. At first, it looks as if the girl is trapped, or maybe just wrapped in a protective layer, but then you realize it's not such a static image as, like the tree, she is continuously growing.
The famous beginning of Joyce’s book Finegans Wake „ riverrun, past Eve and Adam’s, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs.“ actually is nothing else than the continuation of the last sentence of the novel „ A way a lone a last a loved a long the“. So both parts of one sentence make the connection and close the ring, making the novel a true neverending story. And in the same way they make a line a circle. When looking at Patricia’s green line it comes to my mind that this is an endless line too. Telling a neverending story and only out of reasons for storing it is broken in parts and put on a pieces of paper like the line of Joyce’s novel is broken and put on bookpages, 628 of them, to make it possible for us to look at it. And like at Patricia’s line, which one cannot „read“ but only look at, you can only look at Joyce’s line for also it is not readable in a classical way. What you get out of this kind of narration depends on your way of looking at it. If you are cursory you’ll get nearly nothing. But if you take your time, empty your mind of distractions and concentrate on what you see – what means to really look out of your eyes – then the line will start talking to you. It will tell parts of a narration you have to combine and to connect with your own experience to make it become understandable. Maybe that some parts of the line will come out as being a script of music instead. I guess that John Cage would have had a try to make Patricia’s line sound. And Joyce would have loved to see Patricia’s work too in it’s Irish green. So that piece of her neverending line I bought on Wednesday, 14th of November 2007 at her opening in her beautiful studio in Rome is very dear to me. Looking at this green line, this mysterious narration, confirms to me that Patricia is one of the most serious artists on this website.
Patricia, wouldn’t it be interesting to put some of your works from the Green Line Project onto this website. I mean you are so much engaged with it and I think that we all should have the chance to have a glimpse. Perhaps it would not be necessary to fill this space with the 30 meter versions but some of that wonderful „texts“ would do perfectly. Pleeeeezzzzz
Haha! That's such an outlandish upload that has got me thinking though. Why keep calm? My interpretation is ap has gone through too many years of austerity - no new site development, no new initiatives; that it seems always on the point of disappearing from the internet. For this I have to sincerly apologise to all artists here. Nevertheless Patricia your "keep calm" is a much appreciated message for us to be patient that it won't always be like this. On a personal note, I'm waiting for my youngest son to complete high school and start university in 2015 so I can FINALLY quit my dishwashing job, return to Ireland, and start encouraging ap artists on collective projects. Happily relationships with Antonio Sammartano in Trapani are still good and I'd love to ask you all to help us plan a new ap event in that beautiful place. I haven't returned since our first group show in 2007, but I know he's extremely active in building a strong foundation there as a contemporary art venue. Some of you will remember that our get-together there wasn't exactly easy, but with the passing years, we're more experienced now and if we can join forces to design and plan together a kick-ass show, then it'll be one of a series of events for all to remember. Unfortunately I have to ask you to be a little more patient - things will improve; ap in the end is all of us who want to build a simple alternative for practicing artists today, and I promise you that together we will pull out the stops to do significant exhibitions. I am absolutely convinced that we have great artists amongst us who are eager to communicate their struggle and (more importantly) willing to share with others, thus allowing us to produce real quality and meaningful statements for our generation. In conclusion, ArtProcess still has a lot to do before it calls it a day. As for the love jp :o) haha! I'm bowled over by your kindness, but really ap will never succeed until it becomes we, contemporary artists working together, so that one day it must read "Love ArtProcess - Our Project".
"Working on art is nice, but it's a hell of work" could be a translation of a German expression Christina uses a lot. I think we all have our very productive times, and our "inside, invisible" production times and all this envolves a lot of patience and many times, it means watiting. The 2007 project was an awsome experience and I won't get into details how happy I was to get in touch with everyone who had his/her hands on hammer/nails, or just stood there like me, unable of doing anything properly, holding a wall so that someone could fix it to the ground. Unfortunately, I also never went back to Trapani, even if I was convinced I'd soon would. Today I finally got to upload some pictures of a performace that became clearer to me in 2006 on a log project here. This performace was actually realised on May 2012. So, again, I'd like to thank you, because I'm so absolutely positive sure about how AP has been helping me out all these years to think and re-think my work, even if I haven't been as active as I wish I'd have. As to another get-together project, I'm sure it will happen when the right time has come.
Well yes, the old Karl Valentin Quotation. Funny yet absolutely true like John Paul’s remark that AP is just as good or bad as we are who form it. There have been several attempts to bring back the high time of the web site during 2007 and 2008 or maybe even 2009. But it always weren’t enough people to push the blood through the veins properly. So if there is a will, I’ll praise JP’s suggestion to make Trapani a kind of septinale or whatever. And of course I would love to show my huge „Gehäuse“ series in a venue like the old prison. As to visiting Trapani, Trapani is no place to be there just alone. It’s a place to be there in a group of friends, embracing each other, talking into the night during a wonderful meal at the harbour restaurant and having lots of delicious cappuccinos over the day while stroling through the old and well remembered streets. So what we should do at least is a reunion for say two days of the old gang somewhen in summer when the heat is on. So my dear JP, put me on top of the list for that encounter . . .
respiratore
from my sketchbook
copy
12 Dec 05 05:00
I recognize the "T" of tabacchaio, faintly in the background. That's all I can relate to the title "respiratore". Can you tell me a little about the stream of black marks, the two bulbous objects and the masking tape? That's if there is a narrative to the image - otherwise please just say a few words on the image and why you think it worthy of exhibiting. Many thanks. /j-p.
copy
25 Dec 06 04:28
es una obra de gran calidad, yo la recomiendo
copy
25 Dec 06 10:08
hi john-paul and enrique! this srawing is about the idea that we, inhabitants if this planet, are simply "filters" attached to a chain where all the other beings are also filtering, cleaning. the small dots would represent in this case water flowing through our bodies. the t has nothing to do with this drawing, but with the one next page...but washing a tabacchi T is always worth doing, isn't it?!
copy
07 Jun 07 05:38
me gusta...es una gran obra
api
from my sketchbook
pau brasil
from my sketchbook
coruja
from my sketchbook
pau brasil
from my sketchbook
caburé
from my sketchbook
oggetti di culto
from my sketchbook
tabacchi
from my sketchbook
caburé
from my sketchbook
corpus
installation
corpus
installation
corpus
installation
caburé
sketch
sketch
sketch-thought
ziege
sketch for illustration
schneepalme
landscapes for zora
caburé
landscapes for zora
sketch after bonnard landscape
landscapes for zora
ciclamini
landscapes for zora
pau brasil
kleine tonplastik
pau brasil
kleine tonplastik
pau brasil
kleine tonplastik
pau brasil
drawing
copy
13 Dec 05 05:00
It's amazing how similar this is to your "corpus" installation - even the walls have the same form!
pau brasil
drawing
pau brasil
drawing
pau brasil
drawing
pau brasil
drawing
pau brasil
drawing
copy
16 Jul 08 17:18
Patricia, woran liegt es nur, dass ich deine Zeichnungen so sehr mag? Ich hoffe nur, dass Du vor lauter grünen Linien das Zeichnen nicht ganz vergißt. Nicht gegen die grünen Linien, das weißt du, aber ohne diese Zeichnungen würde ich jedenfalls deine Linien nicht verstehen. Liebste Grüße
pau brasil
drawing
pau brasil
sketch for sculpture
a rose was a rose
performance in the International Wome's House, Rome
a rose was a rose
performance in the International Wome's House, Rome
a rose was a rose
performance in the International Wome's House, Rome
a rose was a rose
performance in the International Women's House, Rome
a rose was a rose
performance in the International Women's House, Rome
trees
project for installation pau-brasil
paubrasil
process of sculpture
paubrasil II
process of sculpture
paubrasil III
process of sculpture
paubrasil IV
process of sculpture
copy
21 Dec 05 05:00
Hey Patricia... what an odd thing to do! I find it really interesting though and loaded with meaning - symbolic and otherwise. However I'd like you to make this a "Studio Log" project so it'll be easier to follow the development of the idea over time. Thanks. /j-p.
paubrasil V
process of sculpture
me-tree
from my sketchbook
copy
21 Dec 05 05:00
An arresting image. At first, it looks as if the girl is trapped, or maybe just wrapped in a protective layer, but then you realize it's not such a static image as, like the tree, she is continuously growing.
"bucato" series
weapons made out of material
"bucato" series
weapons made out of material
"bucato" series
hunting weapon with rose
bucato
progress in villa celimontana summer 2006
bucato
installation in park
bucato
installation in park
bucato
installation in park
bucato
installation project in naples
bucato series
a4 watercolor
bucato series
a4 watercolor
bucato series
a4 watercolor
bucato series
a4 watercolor
bucato series
digital photocollage of installation (testing the work)
airplane
sketch airplane
aufloesung
works on the concept of salt and its cleasing qualities
drawing
green line series
copy
16 Nov 07 13:31
The famous beginning of Joyce’s book Finegans Wake „ riverrun, past Eve and Adam’s, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs.“ actually is nothing else than the continuation of the last sentence of the novel „ A way a lone a last a loved a long the“. So both parts of one sentence make the connection and close the ring, making the novel a true neverending story. And in the same way they make a line a circle.
When looking at Patricia’s green line it comes to my mind that this is an endless line too. Telling a neverending story and only out of reasons for storing it is broken in parts and put on a pieces of paper like the line of Joyce’s novel is broken and put on bookpages, 628 of them, to make it possible for us to look at it. And like at Patricia’s line, which one cannot „read“ but only look at, you can only look at Joyce’s line for also it is not readable in a classical way. What you get out of this kind of narration depends on your way of looking at it. If you are cursory you’ll get nearly nothing. But if you take your time, empty your mind of distractions and concentrate on what you see – what means to really look out of your eyes – then the line will start talking to you. It will tell parts of a narration you have to combine and to connect with your own experience to make it become understandable. Maybe that some parts of the line will come out as being a script of music instead. I guess that John Cage would have had a try to make Patricia’s line sound. And Joyce would have loved to see Patricia’s work too in it’s Irish green. So that piece of her neverending line I bought on Wednesday, 14th of November 2007 at her opening in her beautiful studio in Rome is very dear to me. Looking at this green line, this mysterious narration, confirms to me that Patricia is one of the most serious artists on this website.
copy
18 Jul 08 14:30
Patricia, wouldn’t it be interesting to put some of your works from the Green Line Project onto this website. I mean you are so much engaged with it and I think that we all should have the chance to have a glimpse. Perhaps it would not be necessary to fill this space with the 30 meter versions but some of that wonderful „texts“ would do perfectly. Pleeeeezzzzz
lago
for daminon's walk show
binaries
daimon's walk series
daimons square
daimon's walk series
the letters
daimon's walk series
Lecce
daimon's walk series
floating
daimon's walk series
elevation
daimon's walk series
collage#9
daimon's walk series
lion line
daimon's walk series, collage
unsichbares wesen
installation for the latinolatino show, in lecce
madre (part of installation)
bronze piece for installation
madre (part of installation)
oilbar on wood, part of installation
madre (part of installation)
oil on paper (part of installation)
madre (central piece)
part of installation
Performance - Senales Rojas
performance in the studio - Senales Rojas, Rome 2010
100% cottone
performace with Melissa Lohman and Christina Heger - Senales Rojas, Rome 2010
100% cottone
performance, Senales Rojas, Rome 2010
100% cottone
performance for Senales Rojas, IILA, Rome 2010
100% cottone
performance, Senales Rojas, IILA Rome 2010
100% cottone
performance for Senales Rojas, IILA, Rome 2010
100% cottone
perfomance for Senales Rojas, IILA ROme 2010
100% cottone
performance for Senales Rojas, IILA Rome 2010
Merry Christmas and Happy New Year
Artprocess ist an awesome platform! Thank you, John Paul
copy
22 Dec 13 16:43
Haha! That's such an outlandish upload that has got me thinking though. Why keep calm? My interpretation is ap has gone through too many years of austerity - no new site development, no new initiatives; that it seems always on the point of disappearing from the internet. For this I have to sincerly apologise to all artists here. Nevertheless Patricia your "keep calm" is a much appreciated message for us to be patient that it won't always be like this. On a personal note, I'm waiting for my youngest son to complete high school and start university in 2015 so I can FINALLY quit my dishwashing job, return to Ireland, and start encouraging ap artists on collective projects. Happily relationships with Antonio Sammartano in Trapani are still good and I'd love to ask you all to help us plan a new ap event in that beautiful place. I haven't returned since our first group show in 2007, but I know he's extremely active in building a strong foundation there as a contemporary art venue. Some of you will remember that our get-together there wasn't exactly easy, but with the passing years, we're more experienced now and if we can join forces to design and plan together a kick-ass show, then it'll be one of a series of events for all to remember.
Unfortunately I have to ask you to be a little more patient - things will improve; ap in the end is all of us who want to build a simple alternative for practicing artists today, and I promise you that together we will pull out the stops to do significant exhibitions. I am absolutely convinced that we have great artists amongst us who are eager to communicate their struggle and (more importantly) willing to share with others, thus allowing us to produce real quality and meaningful statements for our generation. In conclusion, ArtProcess still has a lot to do before it calls it a day.
As for the love jp :o) haha! I'm bowled over by your kindness, but really ap will never succeed until it becomes we, contemporary artists working together, so that one day it must read "Love ArtProcess - Our Project".
copy
22 Dec 13 20:52
Wonderful Patricia !
copy
23 Dec 13 05:01
"Working on art is nice, but it's a hell of work" could be a translation of a German expression Christina uses a lot. I think we all have our very productive times, and our "inside, invisible" production times and all this envolves a lot of patience and many times, it means watiting.
The 2007 project was an awsome experience and I won't get into details how happy I was to get in touch with everyone who had his/her hands on hammer/nails, or just stood there like me, unable of doing anything properly, holding a wall so that someone could fix it to the ground. Unfortunately, I also never went back to Trapani, even if I was convinced I'd soon would.
Today I finally got to upload some pictures of a performace that became clearer to me in 2006 on a log project here. This performace was actually realised on May 2012. So, again, I'd like to thank you, because I'm so absolutely positive sure about how AP has been helping me out all these years to think and re-think my work, even if I haven't been as active as I wish I'd have.
As to another get-together project, I'm sure it will happen when the right time has come.
copy
01 Jan 14 13:15
Well yes, the old Karl Valentin Quotation. Funny yet absolutely true like John Paul’s remark that AP is just as good or bad as we are who form it. There have been several attempts to bring back the high time of the web site during 2007 and 2008 or maybe even 2009. But it always weren’t enough people to push the blood through the veins properly. So if there is a will, I’ll praise JP’s suggestion to make Trapani a kind of septinale or whatever. And of course I would love to show my huge „Gehäuse“ series in a venue like the old prison.
As to visiting Trapani, Trapani is no place to be there just alone. It’s a place to be there in a group of friends, embracing each other, talking into the night during a wonderful meal at the harbour restaurant and having lots of delicious cappuccinos over the day while stroling through the old and well remembered streets. So what we should do at least is a reunion for say two days of the old gang somewhen in summer when the heat is on. So my dear JP, put me on top of the list for that encounter . . .
Pau Brasil
performance Botanic Garden Rio de Janeiro
Pau Brasil
performance Botanic Garden Rio de Janeiro
Pau Brasil
performance Botanic Garden Rio de Janeiro
Pau Brasil
performance Botanic Garden Rio de Janeiro
Pau Brasil
performance Botanic Garden Rio de Janeiro
Pau Brasil
result of Pau Brasil performance, object
Pau Brasil
result of Pau Brasil performance, object