GLOBAL ART PROJECT ( g.a.p.) ART WORKSHOPS : VENICE, ITALY JULY-AUG, 2016

 

 

GAP III print

GAP : (global art project)
GAP III
SEPTEMBER  2015 LECCE, ITALY
MONNA LISA STUDIOS, CITTADINO & FONDO VERI
GAP II
MARCH 2015
MAZATLAN, MEXICO
CARLOS BUELNA GALLLERY, MUSEO DE ARTE DE MAZATLAN 
GAP I
JULY 2014
EXHIBITION AND WORKSHOPS AT CA ‘Zanardi GALLERY VENICE, ITALY
 
gap in 2014
>>>>
Lorna Crane
Joan Stennick
Chaewon Oh Laura
Carl Heyward
Vered Gersztenkorn
Akiko Suzuki
*
GAP MEXICO INVITATION ALVARO JOAN IMAGE
<<<<
*
GAP will be exhibiting new art work and conducting workshops in mixed media, collage, quilt making and drawing with six international artists during the month
of July 2014 in Venice and at the end of the month accepted an invitation to participate on in the Biennale Lecce in southern Italy.
GAP ALVARO SANCHEZ LA DUDA DE DIOS
ALVARO SANCHEZ
……………………………………………………………………………………………………………………………………………………………………….2015:
GAP ( global art project ) invites native and traveling artists to view compact evolving exhibitions and participate in workshops and demonstrations of collaborative and mixed-media arts in our ongoing series of international activities for this project. We return to Lecce in southern Italy a year after participating in the Salento Biennale, the Tonio Jazz Festivall and establishing a base in Venice at Ca’ Zanardi to Mostra al Cittadino 52 artisti per 52 settimane and Fondo Verri with the guidance of curatorMonica Lisiwhose Monna Lisa studio space will serve as the site for workshops for visiting and local artists from September 20 to October 4th and center of experiments in art practice by Carl Heyward / Akiko Suzuki and Vered Gersztenkorn – Painter. The exhibitions include rotating examples of individual and collaborative new and existing works from core GAP members Laura Oh and Lorna Crane. Additionally satellite GAP membersGlen Rogers / Gregory J Rose / N Masani Landfair Wisewaters and Alvaro Sanchez round out the project with diverse works various media including print, painting, collage, contemporary quilt making, assemblage, electro-static graphics and other genres….the conglomerate of participants hail from USA / JAPAN / ISRAEL / NEW SOUTH WALES / SOUTH KOREA & GUATEMALA . Join GAP as we invent the face of the necesarily collaborative future.
AKIKO CUPPED RED FACE BART   AKIKO  /japan
WORMSCARL AND ALVARO TERRORISTS  CARL /usa ALVARO /guatemala
LORNA PORT     LORNA/ new south wales
GREGORY / usa   GREGORY J ROSE PORT
GAP LAURA OH BY CAMELIA MIRESCU   LAURA / s. korea
GAP PR IMAGE Glen Rogers 2015Glen Rogers/ mexico :
N MASANI LANDFAIR WISEWATERS PIECE WITH PORT    N. MASANI WISEWATERS / usa
VERED COLORIZED BY CH  VERED / israel
……..
Due workshop sono ospitati dall’artista e curatrice Monica Lisi nel suo studio in occasione dell’arrivo a Lecce degli artisti Carl Heyward Vered Gersztenkorn e Akiko Suzuki . Verranno esposti a Lecce i loro lavori, come anche quelli del gruppo GAP presso il Caffè cittadino ed il Fondo Verri a Lecce.
Domenica 20 settembre e Domenica 27 Settembre, dalle 16 alle 19 si terranno due sessioni al prezzo sociale di 25 euro l’una per dare a tutt* la possibilità di conoscere e apprezzare il lavoro di questi straordinari artisti. Pittura disegno, quilt, mixed media e collage saranno le tecniche utilizzate. Il prezzo dei workshop servirà a finanziare la residenza a Lecce degli artisti provenienti dal Giappone, Israele, Stati Uniti.
Necessaria prenotazione e conferma tramite un’acconto che non verrà restituito in caso di rinuncia. Info 3274288848 monnalisa.71@libero.it
Two workshops are hosted by the artist and curator Monica Lisi in his studio after the arrival in Lecce artists Carl Heyward Vered Gersztenkorn andAkiko Suzuki . Lecce will be exposed to their work, as well as those of the group GAP at the Coffee citizen and the Fund Verri in Lecce.
Sunday, September 20 and Sunday, September 27, from 16 to 19 there will be two sessions a social price of 25 euro each to give to everybody the opportunity to know and appreciate the work of these extraordinary artists.Painting design, quilt, mixed media and collage techniques will be used.The price of the workshop will be used to finance the residence in Lecce artists from Japan, Israel, the United States.
Necessary booking and confirmation through un’acconto will not be refunded in case of cancellation. Info 3274288848 monnalisa.71@libero.it .
GAP colab quilt Akiko assembled frags from Carl and Vered The Road to Lecce
https://www.youtube.com/watch?v=bLcJHzOHAqE

GAP is currently taking reservations for participation in our proposed workshops and studio sessions.

Enrollment is limited( probably no more than five (5) participants in any one session.
We hope to repeat this experience, possibly adding mono-print making and sculptural workshops to the roster allowing artists at all levels of experience to participate in a nurturing, supportive setting which promotes as well as questions habitual creative methods.
Your reservation is a vote of confidence for the project; supports the project and encourages others to participate in a wholly unique experience.
Please contact me for further information, though many of us have already been in touch and this outreach is a response to your query.
Consult the GAP albums, facebook page and website to reference the Venice July 2014 experience.
If you decide to move forward today and make a reservation for the GAP workshops:
remit 150 euro ( paypal ) and select ONE of the following workshops…
DRAWING
MIXED – MEDIA
COLLAGE
PAINTING
CONTEMPORARY QUILT MAKING
*each workshop session will be conducted for four (4) hours
*material fees may apply
the paypal account associated with GAP II is:
artspeak2020@yahoo.com. Each workshop is 150 euro and you can add additional ones later if you like…the paypal information is above (artspeak2020@yahoo.com) I invite and encourage you to respond with registration asap and let others know…while this is participation in workshops for you, it also includes the experience to participate in interactive collaborative art practice and an exchange of techniques and ideas that you might not be exposed to otherwise.
Thank you for your interest; looking forward to communicating with you and seeing you in Italy in SEPTEMBER 2015 for GAP II.
Carl Heyward
GLOBAL ART PROJECT
http://www.utsanga.it/?p=140
https://spontaneouscombustionlanguageimagelab.wordpress.com/

https://www.youtube.com/watch?v=bLcJHzOHAqE

thank you so much Camelia Mirescu for this beautiful document of our project in GAP Venice JULY 2014…please visit us in Lecce, Italy Sept 19- Oct 4 for our workshops and exhibitions curated by Monica Lisi at Mostra al Cittadino 52 artisti per 52 settimane and Fondo Verri :

*

we encourage you to register early to assure placement and confirmation of the workshop class of your choice: message your email address

*
NOW AND THEN
*
THINKING ABOUT DRAWING
with Australian Artist  LORNA CRANE
Ca’Zanardi Venice July 2014
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>
About the Workshop 3 hours
This workshop explores the idea of ​​drawing with a fresh and intuitive approach. It will be a workshop of ideas, exploration and self discovery. A time to take a leap of faith in the search for each artist’s unique visual language by building a series of small works on paper – each no larger than A4.
Be prepared to work quickly creating a platform to take a leap of faith – to view the perception of a mistake as a fresh and inspiring opportunity and to be surprised with some exciting and revealing end results. Process includes building a base layer of interest to over-draw and paint.
Materials List
Necessary> acrylic paint, markers, black ink, assorted pencils, small stapler, assorted graphite pencils, brushes, water containers, scissors and glue stick
Optional> book pages, found paper, cloth, discarded That works on paper can be used as collage
Base paper Should be a heavier weight to withstand some collage work to act as a base to then over-draw with a fluid medium
The end results will be a series of small works on paper> maybe some fully resolved or be works in progress to complete in your own time.
MIXED-MEDIA / collage WORKSHOP
facilitated by 
 
American Artist: 
Carl Heyward  
and
Korean Artist:
Oh Laura Chaewon
                       
DURATION: 3 hours multiple sessions available and ENCOURAGED 
20140130033043-untitled_envelope_collage__4__mixed_media__19_x_86_cm__oct
envelope collage # 4


Oct., 2013
mixed media
19 x 86 cm 

 
 
Oh:
 
“I would like to make small collages (extrapolating on the development of my Envelope
Cardboard and Collages Collages)
using envelopes, fabrics, buttons, cardboard, found objects, photos, pages torn from books,
and lettering, stamping, attaching knitted wires, pencil, charcoal drawings and paintings with
acrylic as background or overlapping collage elements.
Focus centers on the free flow of energy … making collages for fun. “
Heyward:
 
“Collage makes sense of the chaos around us”
   20140129211138-zimbab_detail_chicken_coca_nudes
 
ZIMBABWE STEP TWO SERIES 
 
… In every object, scraps of paper, discarded notes, forgotten photograph and commercial product package is a confrontation with the values ​​of our cultures; the glut of information available is overwhelming and poses a challenge to simple linear comprehension; perhaps mixed-media art work offers the opportunity for an almost meditative ordering of the chaos Within and without …
 
Collage and found materials are the
Focus: newsprint, photos, magazine
imagery … anything with meaning can be
Made to mean Opinions more; the sum of
the
materials can be manipulated to
created
personal art works narrating
observations on art, the
cultures,
politics and personal history.
materials:
 
photos, writing, discarded books, blank books, found paper objects. glue stick, pencil, materials to color: acrylic paints and oil stick, markers etc.
 
 
Abstractions in QUILT MAKING:
with Japanese Artist
 
Akiko Suzuki
 
Objectives:
 
Creation of a small abstract quilt using the Japanese Kimono Antique as a point of departure 
 
Creation of a quilt Consisting of painted clothing
 
Creation of a quilt combining Both Japanese kimono and painted clothing
Involving hand stitching 
 
Materials provided including electric iron.
20140127070922-img_4918
Black water: series Under my Skin

Nov.2013
mixed media
42x30cm 16 “x12”

PARTICIPANTS * note: as this is a labor-intensive workshop we urge participants to be prepared for all day or half day sessions and to Consider The Possibility of multiple day sessions to complete These quilts.
 
 
 
Vered Gerzstenkorn:  
 
an artist from  Israel Whose approach to painting  offers complete freedom to the impulses of the child in the artist.
 
“Most of my collages (if not all of them) are
 
Made out of my drawings / paintings, I 
 
hardly use found material to create them. The 
 
intend to use my way of working in
 
workshops alongside acrylic techniques. “
 
 
Vered’s workshops will proof to be  innovative and  experimental in nature putting the participant possibly off-balance 
 
in unfamiliar territory then  ushering them gently back with wall painting with eyes closed then open; extrapolating 
 
drawings and paintings  into formats and juxtapositions Both  unusual andunexpected;
 
 
 
Photo
                                                                                                                     vered gerzstenkorn:
 
Materials Required:  Oil sticks, house paint, pencils, anything That  makes a mark.
 
 
 
 
 
DRAWING WORKSHOP:
 
facilitated by American Artist
 Joan Stennick
                       
                                                       
… Is a high-energy class based on the essential tools
of drawing from life, from objects and from the imagination accompanied by music and verbal direction and encouragement from Stennick Whose approach will accommodate all skill levels. She will explore new methods of
mark-making awakening new relationships with working materials through an intuitive approach to art practice.
                                                                  JOAN AT GDG W PAINTING photo by peggy reskin November 2013 acrylic
 “The track an interior landscape with varied levels of connection to physical reality; never planned in advance, but Allowing it to happen as it Emerges … when it feels right in my body … and making the mark When I see the shot.”
GLOBAL ART PROJECT
Our participation in the 3rd ANNUAL LECCE BIENNIAL is greatly anticipated by our group of six international artists combined Whose Efforts have coalesced into activities promoting international art practices in the form of exhibitions, workshops, lectures and a tour during the month of July 2014 to Venice, Treviso and Lecce, Italy.Beginning July 15th, for the period of one year, GAP individual works from each member will be displayed at the Palazzo Vernazza. Additionally, a collaborative work will be created in conjunction with our workshops at Ca ‘Zanardi in Venice where our joint study combines practice with collective investigation into mixed media, painting, fiber arts (contemporary quilt making) and collage producing a truly global artifact representative of the dedication, risk and trust between disparate, yet like-minded artists from all over the world in the setting of an up and coming center for European culture: Lecce.THE PROJECT
For Lecce’s 3rd Annual Salento Biennale our purpose is to Demonstrate the impact of a wide reaching far-flung group of international artists who have maintained communication and collaboration through an exchange of ideas and art works over the period of 3-4 years having initially met via electronic media.Originally Carl Heyward (San Francisco, California USA) and Lorna Crane (New South Wales, Australia) Began a friendship and correspondence via Heyward’s KNEE (jerk) Fragmentation (mail art) PROJECT in 2011 Which Consists of a one-for-one exchange of post card sized art works made ​​Exclusively for the project That has Artist- Attracted over 500 participants and produced over 3,000 individual art works.The idea of fragmentation is central to His aesthetic mission fatto che the pieces of a culture, the debris, the archaeological products of waste and discard give evidence of culturally assigned value and worth;of conscious and sublimated preoccupations of contemporary cultures and That Their combination through collage, assemblage and other art methods Allows a reading of place and time That includes and transcends These elements.He and Crane developed in dialog in the course of this project Recognizing the resonance of Their personal imagery and founded ZIMBABWE (two-step) to encourage Their Own practice as a collaborative device, each marking a canvas or surface and sending intact or as a fragment to the other shortly after launching KNEE (jerk) .These works will be Exhibited in Australia in 2015 while the KNEE (jerk) Project will be Traveled as a segmented work Exhibited in various sites in combinations of 250-500 venues.In selected works in the course of These electric endeavors, both artists have Exhibited in Their Respective countries as well as having Participated in international shows.In expanding Their inclusion of other artists in the aforementioned and similar projects, Heyward and Crane added Stennick painter Joan of San Francisco (Heyward’s partner who has Exhibited widely in two-person shows with him as well as her own exhibitions only);Akiko Suzuki an award winning contemporary quilt maker from Osaka, Japan;the hugely popular self-taught Vered Gersztenkorn (Tel Aiv, Israel), a painter-collagist;and Chaewon Laura Oh of Seoul, Korea in multi-media artist and accomplished portraitist, Completing the GLOBAL ART PROJECT in November 2013.WE RESONATE TOGETHERWE ECHO TOGETHERgap in 2014GAPOur work for the Biennale Lecce Reflects individual, personal and global Concerns by virtue of intention. We are creating and exhibiting Work That Allows the freedom of expression by the very opportunity to communicate beyond language and culture with various artists form all over the world while remaining open to the opportunities of the moment accessed through this circumstance in a setting (Italy) dear , yet completely foreign to us all.What might be produced? What might happen? What reaction might be? How will, we be changed? What of value might we give? What might we receive?What within US will be changed?Without this experience, how can we know?

We learn from each other and are willing to be vulnerable and open to the experience.

Be willing to witness this process; be willing to join us in Lecce.

GLOBAL ART PROJECT

beginning July 15th 2014 GAP (the global art project)  Carl Heyward  / Lorna Crane  /  Joan Stennick  /  Vered Gersztenkorn  / Chaewon Laura Oh  and  Akiko Suzuki  Their present individual works as well as collaborative creations at the 4th Annual Biennial Lecce in southern Italy. Lecce The Biennale is curated the city of Lecce. This exhibition marks the coming of age of the Biennale and is an extension of the GAP international exhibitions and workshops during the month of July 2014 in Venice at  Ca ‘Zanardi  (July 5th – July 30th) and a special workshop in the town of Treviso in Veneto Sunday July 13th from 3-5 pm:
Former Church St. Anthony
Address Piazza La Rotonda
Badoere of Morgano (Treviso)
Sponsorized to municipal Department of Culture Morgano (Treviso) and Ass. cult. Art Gallery Museum NabilaFluxus
Curator  Virginia Milici

                                                                                           LORNA TAN WORKS FOR WORKSHOP PRlorna crane
                                                                                                           Photo
                                                               lorna crane

GAP | Global Art Project

GAP – Global Art Project
Carl Heyward (USA), Joan Stennick (USA), Gersztenkorn Vered (Israel), Lorna Crane (Australia), Akiko Suzuki (Japan), Chaewon Laura Oh (Korea)

Starring at the Biennale of Salento, the artists of the GAP, the Global Art Project, led in Palazzo Vernazza, in Lecce, a tangle of languages ​​in combustion, words and signs crumpled and are made clear in the accumulation as in subtraction. Dominant elements, the medial gap, increasing pervasiveness symbolic that appears in the development of signs of the group members. Sign, signs, multiply and subtract each other. The space is the work area of ​​reprisal. Aggressive encirclement, assaults, leaving no time to lay eyes that already it is tempting to turn him and point to a new special, discovering new dimensions that populate the work. The surprise is constant attraction. Messages emerge and attempt criticism, the ambush to the cliché, the thought already.

# 1 GAP COLAB detail
image

# 2 CARL HEYWARD language
image

# 3 CARL HEYWARD detail … language
image

# 4 Carl Heyward
image

# 5 GAP Colab in progress
image

# 6 CARL HEYWARD row three
image

# 7 GAP Colab in progress
image

# 8 GAP COLLABORATIVE ARTIST’S BOOK
image

# 9 Carl Heyward and Vered Gersztenkorn row four:
image

# 10 Carl Heyward and Vered Gersztenkorn

image

# 11 GAP Colab
image

# 12 Carl Heyward row five
image

# 13 Carl Heyward
image

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2 Comments

  1. Ron Shelton Produces HAF (HIGH ART FRIDAY’S Which profiles contemporary arts and art activities on FACEBOOK)
    this interview Appeared August 7, 2014

    https://www.facebook.com/groups/496221567165118/permalink/634060736714533/

    Questions for Carl:

    1) Carl, how did GAP 2014 Venice Workshop come to fruition?

    Specifically the workshops came into being after examining our presence in Italy for the exhibition at CaZanardi as well as the invitation to participate on the 3rd in Lecce / Salento Biennale; I learned only through a series of exhibitions last year in Ceglie Mesapica and Lecce That there is great interest in contemporary art practices, especially the mixed-media process in the Fine Arts Academie settings, by the emerging artists who operate in an environment rich with antiquities and the whole history of Western art at Their doorstep That is oddly bereft of a contextual format That seriously addresses many aspects of current practice. So we made ourselves available during the course of the exhibit, between our own study time, to conduct sessions in drawing, art from nature, mixed media, collage, contemporary quilt making and painting.

    2) What criteria did you employ Selecting the 6 artists?

    I have known individuals in the group from a period ranging from two to six years; have Collaborated extensively with all of them, especially Lorna Crane who has joined me in the KNEE (jerk) Fragmentation PROJECT since about 2011 Involving Opinions more than 500 artists worldwide Resulting in Opinions more than 3,000 A-5 (roughly 6 x 9 inch) sized pieces in a one-for-one art exchange between the participants. She immediately responded to the notion of “fragmentation”, refuse salvaging materials from the studio floor, the trash bin, found the scrap, discarded the gesture That contained a germ of salvageable intent That, combined with another “frag” might result in a whole That new work risen from heap … That add to the collected frags coming in from all over the world, re-combined and then cut up and re-distributed as fresh new works with the participation of Involved creative people, well, all of this proved to be very rewarding and stimulating.

    That community of artists and continues to expand the core group came from GAP Those energies: Akiko Suzuki, Laura Oh, Joan Stennick (my partner) and Vered Gerszrenkorn.

    We share a similar aesthetic, combine disparate elements in the creation of our work, but maintain individual and unique identities in the overall practice of each artist. We meet at the intersection of mixed-media yet maintain divergent philosophical Paths That define each, perhaps, for who they / we are.

    These are artists who do what I can not do, do what has not occurred to me to do, create simple magic through dint of Their dedication to the creative process. All are dedicated practitioners Whose work I admire deeply.

    And of course the sad “YES”!

    3) How did the overall chemistry of the 6 artist impact the direction and outcome of the workshop?

    We expected to have the jerk, the first woman; to have drama and discord … “in the course of human events” and all that … it NEVER happened. We had the most incredible experience making art together, teaching, improvising, learning, traveling together, brainstorming … making it up as we went … incredible meals and conversations. We Knew from the gate That this is / was and continues to be a unique and special experience. Add to That the phantasmagorical environment of living in a 15th century palace in Venice, Italy..give me a break.
    It was “lemme pinch myself” every day for a month.

    There exists in telepathy, an unspoken communication That I have only experienced in an intimate or improvisational musical jam sessions That is very high and very special; this is what the month of July was like; every moment an opportunity to be completely present, to create or impart some idea, to witness others grapple with challenges and aesthetic solutions, alternatives from the canvas to Selecting the right route to the Rialto Bridge to Deciding the menu for dinner … and trust serendipity Seemed to be the credo for the GAP experience overall.

    With the Additions of British artist John Crabtree and later the Italian Cinzio Cavallarin we were challenged and privilege to create fast-paced works at an incredible rate without thought or reservation Which proved to be an invaluable stimulus to the group dynamic and informed the individual workshops That Were Opinions more formal and structured.

    We faced fifteen artists at Treviso’s Art in the Rotunda situated in a massive round of buildings traditionally used as an ancient market place stall converted into spaces for artists marketing Their Work. This proved to be an exhausting exercise in crowd-control and improv theater Resulting in the bonding of the GAP unit into a “rise to the occasion” MASH unit of artists-paramedics.

    4) What was the reaction of the community That took part in the workshop sessions?

    Completely positive. Most acknowledged That they had never worked in Within the formats or Considered That the suggestions we made to loosen up and escape the tyranny of the precious object, make a mark and tear it up, combine with another. The notion That One wold create a masterpiece or rany completed work In These sessions Entirely went out the window. Once participants accepted the premise That they could Entirely free and responsible for the direction of the sessions you could see and feel the joy of liberation That accepted and the concomitant responsibility with freedom.

    5) How did the artist’s workshops in collaboration impact the project?

    This was a very important element of the GAP experience. We all Witnessed the process of the other.Sometimes immediately, sometimes over a period of days. Handing a work in progress over to Akiko, for instance, I was amazed where she took things … she is a consummate “finisher,” I am a good instigator; Lorna is a masterful teacher; Vered is just magical to watch and all the Opinions more charming Because she is so self-effacing; she has no clue just how valuable she is, and Laura is completely indispensable to the entire process, she is there with what you need before you realize That you need it.

    I was puzzled as to just how to collaborate with her (Laura); she, like Akiko, use fabric and exotic papers in her creations … nonetheless two of the most satisfying pieces created in the collaborative process came from my work with Laura and I am very very pleased.

    Something arose from just jumping without knowing That the parachute would open and the experience remains amazing with very satisfying results. We are all gratified and I believe changed for the better. It remains to be seen how this experience will impact our individual practices.

    6) What story did the Book Art collage convey collaborations of GAP Venice 2014?

    This is the portable gallery. This is the act of being in the moment and synthesizing the immediate experience without fiction or editing. This is the raw unadulterated truth of our experience and is a shorthand of That experience put into visual poems.

    7) What future development direction will go from the information collected through the GAP project?

    We shall see. Certainly increased At confidence in group and individual practices. GAP is / was an experience, a group for people who eschew the group idea … a social experience for hermits … an Entirely unique and special experience. Attempting to duplicate the experience will fail? Possibly. But if there is one thing That We learned it is this:

    A creative risk is a risk worth taking. Nothing compares to the process. Nothing compares to the result. Nothing.

  2. Ron Shelton Produces HAF (HIGH ART FRIDAY’S Which profiles contemporary arts and art activities on FACEBOOK)
    this interview Appeared August 7, 2014

    https://www.facebook.com/groups/496221567165118/permalink/634060736714533/

    Questions for Carl:

    1) Carl, how did GAP 2014 Venice Workshop come to fruition?

    Specifically the workshops came into being after examining our presence in Italy for the exhibition at CaZanardi as well as the invitation to participate on the 3rd in Lecce / Salento Biennale; I learned only through a series of exhibitions last year in Ceglie Mesapica and Lecce That there is great interest in contemporary art practices, especially the mixed-media process in the Fine Arts Academie settings, by the emerging artists who operate in an environment rich with antiquities and the whole history of Western art at Their doorstep That is oddly bereft of a contextual format That seriously addresses many aspects of current practice. So we made ourselves available during the course of the exhibit, between our own study time, to conduct sessions in drawing, art from nature, mixed media, collage, contemporary quilt making and painting.

    2) What criteria did you employ Selecting the 6 artists?

    I have known individuals in the group from a period ranging from two to six years; have Collaborated extensively with all of them, especially Lorna Crane who has joined me in the KNEE (jerk) Fragmentation PROJECT since about 2011 Involving Opinions more than 500 artists worldwide Resulting in Opinions more than 3,000 A-5 (roughly 6 x 9 inch) sized pieces in a one-for-one art exchange between the participants. She immediately responded to the notion of “fragmentation”, refuse salvaging materials from the studio floor, the trash bin, found the scrap, discarded the gesture That contained a germ of salvageable intent That, combined with another “frag” might result in a whole That new work risen from heap … That add to the collected frags coming in from all over the world, re-combined and then cut up and re-distributed as fresh new works with the participation of Involved creative people, well, all of this proved to be very rewarding and stimulating.

    That community of artists and continues to expand the core group came from GAP Those energies: Akiko Suzuki, Laura Oh, Joan Stennick (my partner) and Vered Gerszrenkorn.

    We share a similar aesthetic, combine disparate elements in the creation of our work, but maintain individual and unique identities in the overall practice of each artist. We meet at the intersection of mixed-media yet maintain divergent philosophical Paths That define each, perhaps, for who they / we are.

    These are artists who do what I can not do, do what has not occurred to me to do, create simple magic through dint of Their dedication to the creative process. All are dedicated practitioners Whose work I admire deeply.

    And of course the sad “YES”!

    3) How did the overall chemistry of the 6 artist impact the direction and outcome of the workshop?

    We expected to have the jerk, the first woman; to have drama and discord … “in the course of human events” and all that … it NEVER happened. We had the most incredible experience making art together, teaching, improvising, learning, traveling together, brainstorming … making it up as we went … incredible meals and conversations. We Knew from the gate That this is / was and continues to be a unique and special experience. Add to That the phantasmagorical environment of living in a 15th century palace in Venice, Italy..give me a break.
    It was “lemme pinch myself” every day for a month.

    There exists in telepathy, an unspoken communication That I have only experienced in an intimate or improvisational musical jam sessions That is very high and very special; this is what the month of July was like; every moment an opportunity to be completely present, to create or impart some idea, to witness others grapple with challenges and aesthetic solutions, alternatives from the canvas to Selecting the right route to the Rialto Bridge to Deciding the menu for dinner … and trust serendipity Seemed to be the credo for the GAP experience overall.

    With the Additions of British artist John Crabtree and later the Italian Cinzio Cavallarin we were challenged and privilege to create fast-paced works at an incredible rate without thought or reservation Which proved to be an invaluable stimulus to the group dynamic and informed the individual workshops That Were Opinions more formal and structured.

    We faced fifteen artists at Treviso’s Art in the Rotunda situated in a massive round of buildings traditionally used as an ancient market place stall converted into spaces for artists marketing Their Work. This proved to be an exhausting exercise in crowd-control and improv theater Resulting in the bonding of the GAP unit into a “rise to the occasion” MASH unit of artists-paramedics.

    4) What was the reaction of the community That took part in the workshop sessions?

    Completely positive. Most acknowledged That they had never worked in Within the formats or Considered That the suggestions we made to loosen up and escape the tyranny of the precious object, make a mark and tear it up, combine with another. The notion That One wold create a masterpiece or rany completed work In These sessions Entirely went out the window. Once participants accepted the premise That they could Entirely free and responsible for the direction of the sessions you could see and feel the joy of liberation That accepted and the concomitant responsibility with freedom.

    5) How did the artist’s workshops in collaboration impact the project?

    This was a very important element of the GAP experience. We all Witnessed the process of the other.Sometimes immediately, sometimes over a period of days. Handing a work in progress over to Akiko, for instance, I was amazed where she took things … she is a consummate “finisher,” I am a good instigator; Lorna is a masterful teacher; Vered is just magical to watch and all the Opinions more charming Because she is so self-effacing; she has no clue just how valuable she is, and Laura is completely indispensable to the entire process, she is there with what you need before you realize That you need it.

    I was puzzled as to just how to collaborate with her (Laura); she, like Akiko, use fabric and exotic papers in her creations … nonetheless two of the most satisfying pieces created in the collaborative process came from my work with Laura and I am very very pleased.

    Something arose from just jumping without knowing That the parachute would open and the experience remains amazing with very satisfying results. We are all gratified and I believe changed for the better. It remains to be seen how this experience will impact our individual practices.

    6) What story did the Book Art collage convey collaborations of GAP Venice 2014?

    This is the portable gallery. This is the act of being in the moment and synthesizing the immediate experience without fiction or editing. This is the raw unadulterated truth of our experience and is a shorthand of That experience put into visual poems.

    7) What future development direction will go from the information collected through the GAP project?

    We shall see. Certainly increased At confidence in group and individual practices. GAP is / was an experience, a group for people who eschew the group idea … a social experience for hermits … an Entirely unique and special experience. Attempting to duplicate the experience will fail? Possibly. But if there is one thing That We learned it is this:

    A creative risk is a risk worth taking. Nothing compares to the process. Nothing compares to the result. Nothing.
    GLOBA

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“2013 review GLOBAL ART PROJECT (gap) ART

WORKSHOP: VENICE, ITALY July 2014 ”
Global Art Project (GAP) LABORATORIES OF ART: VENICE, ITALY July 2014
February 5, 2014 / /
GAP (global art project)
2014

WORKSHOP A CA ‘Zanardi GALLERY VENICE, ITALY

THINK DESIGN
by Australian artist Lorna GRU
Ca’Zanardi Venice July 2014
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>>>>
The workshop three hours
This seminar explores the ‘idea of design with a fresh approach and intuitive. It will be a laboratory of ideas, exploration and self-discovery. A time to take a leap of faith in the search for unique visual language of each artist by building a series of small works on paper – each no larger than A4.
Be prepared to work quickly creating a platform to make a leap of faith – to see the perception of a mistake as fresh and challenging opportunities and be surprised with some final results exciting and revealing. Process includes the construction of a base layer of interest to over-draw and paint.
Materials list
Required> acrylic paint, markers, black ink, pencils assorted, small stapler, assorted graphite pencils, brushes, water container, scissors and glue stick
Optional> pages of books, paper, cloth found, works on paper scrap that can be used as collage
base map must be heavier to withstand some work collage to act as a base for excessively then draw with a means fluid
The final results will be a series of small works on paper> or some may be completely solved in the ongoing work to complete in their own time.
MIXED -Media / collage WORKSHOP
facilitated by

American artist:
Carl Heyward
and
Korean Artist:
Laura Oh Chaewon

Duration: 3 hours sessions available and encouraged
Oh:

“I’d like to make small collages (extrapolating on the development of my bag
and cardboard Collages Collages)
using envelopes, fabrics, buttons, cardboard, found objects, photos, pages torn from books,
and lettering, molding, attaching wire mesh pencil drawings charcoal and painting with
acrylic as background or collage elements overlapping.
Focus centers on the free flow of energy … make collages for fun. ”
Heyward:

… In every package of objects, waste paper, note discarded, forgotten and commercial product photography is a comparison with the values ​​of our culture, the glut of information available is overwhelming and presents a challenge to simple linear understanding, perhaps work of ‘art mixed -media offers the opportunity of a nearly meditative sort of chaos in and out …

Collage and materials found are the
focus: Newsprint, photos, magazine
pictures … anything with meaning can be
made ​​to mean more, the sum of
the
materials can be manipulated to
create
works of art narrating personal
observations on ‘art,’
culture,
politics and personal history.
materials:

photos, writing, discarded books, blank books, found paper objects. glue sticks, pencil, color materials: acrylic paint and oil stick, markers etc.

ABSTRACTIONS in QUILT MAKING:
with the Japanese artist

Akiko Suzuki

aims:

Creating a small quilt abstract using the ancient Japanese kimono as a starting point

Creating a quilt made up of clothes paintings

Creating a quilt that combines Japanese kimono and clothing painted
involving hand-stitching

Materials also supplied iron.
* PARTICIPANTS note: as this is a labor intensive workshop ask the participants to be prepared for all day or half-day sessions and to consider the possibility of multiple daily sessions to complete these quilts.

Vered Gerzstenkorn:
Israel is an artist whose approach to painting offers complete freedom to the impulses of the child artist.

“Most of my collages (if not all) are

the fact of my drawings / paintings, I

difficult to use material found to create them. I

I am going to use my way to work

workshops alongside technical acrylic. ”

Workshop Vered will prove to be innovative and experimental nature put the participant possibly off-balance

in unfamiliar territory and then gently usher back with painting the wall with eyes closed and then opened; extrapolating

drawings and paintings in both formats and unusual juxtapositions and unexpected;
Required materials: oil pastels, house paint, pencils, everything that makes a mark.

Drawing workshop:

facilitated by American artist
Joan Stennick

… It’s a high energy class based on the tools essential
to life drawing, objects and imagination accompanied by music and the verbal direction and encouragement from Stennick approach which can accommodate all skill levels. You explore new methods of
mark-making awakening new relationships with the materials to work through an intuitive approach to artistic practice.
JOAN AT GDG PAINTING W photo of Peggy reskin November 2013 acrylic
“I monitor an interior landscape with various levels of connection with reality physical, I never planned ahead, but allowing it to happen as is clear … when it feels right in my body … and making the sign when I see the shot. ”
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
for registration information and leave a tariff comment and a facilitator will contact you via email
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

RelatedGLOBAL ART PROJECT (gap) LABORATORIES OF ART: VENICE, ITALY July 2014
Ronald Chase / Carl Heyward / Joan Stennick: WINTER TIME
With 145 commentsA tapestry SORROW: AKIKO SUZUKI
In “1)” Small abstract “2)” Eat your bones “112x95cm 44” x37 “Cotton and hand-dyed silk organza”
categories Uncategorized
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respond
margadirube
February 5, 2014 06:08 (change)
Very interesting! I feel great! .. And with great artists! congratulations for a great idea! !

respond
JWKouwen
February 5, 2014 at 19:09 (change)
hm … Venice …. (> | -.)

reply
Leave a Comment

also:

GAP: global art project

Carl Heyward

Lorna Crane

Joan Stennick

Oh Laura Chaewon

Vered Gersztenkorn

Akiko Suzuki

GAP will expose ‘new artwork and will build’ laboratories mixed media, collage, creating quilt and

design with six international artists, during the month of July in Venice and at the end of the month agreed

the invitation to participate in the Biennale in Lecce in southern Italy.

DATES be determined

WORKSHOP FOR INDIVIDUALS

50 EURO

PACKAGE OF THREE SEMINARS

100 EURO

MATERIALS PROVIDED

Each workshop consists of a minimum of FOUR HOURS

WITH POSSIBILITY ‘OF EXTENSION OF TIME TO ALL DAY OR HALF DAY IF

SHOULD

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<

THINK DESIGN

with the Australian artist Lorna GRU

Ca’Zanardi Venice July 2014

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>

About three hours workshop

This workshop explores the ‘idea of ​​the design with a fresh approach and intuitive. It will be a laboratory

ideas, exploration and self-discovery. An ‘opportunity to seek the unique visual language of each artist

with the realization of a series of small works on paper – each no larger than A4.

Be prepared to work quickly by creating a platform that allows you to feel like a failure

a ‘fresh and challenging opportunities and to surprise you with some final results exciting and detectors. The

process includes the construction of a base layer on which to draw and paint.

Materials List

Necessary> acrylic paint, markers, black ink, pencils assorted, small stapler, pencils

graphite assorted brushes, water container, scissors and glue sticks

Optional> pages of books, paper, cloth, discarded works on paper that can be used as

collage

The base paper must be heavier to withstand working dii collage and to act as a base for later

overlay designs with a fluid medium.

The final results will be a series of small works on paper> some completely resolved, as other

“Work in progress” to complete in their own time.

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<

Mixed media and collage WORKSHOP

American artist:

Carl Heyward

is

Korean artist:

Oh Laura Chaewon

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>

Duration: 3 hours sessions available and highly recommended

Oh:

“I’d like to make small collages (extrapolating on the development of my bag and cardboard Collages

Collages) using envelopes, fabrics, buttons, cardboard, found objects, photos, pages torn from books, and

lettering, pressing, attacking wire mesh, pencils, charcoal drawings and paintings with acrylic as

background or overlapping elements of collage. Staying focused on the free flow of energy … do

collage for fun. ”

Heyward:

“The collage is the sense in the chaos that surrounds us”

… In every object, piece of paper, notes discarded, forgotten photographs and parcels of commercial products c ‘

is a comparison with the values ​​of our culture, the glut of information available is overwhelming

and it represents a challenge to the simple linear understanding; Knows’ that the work of art in mixed media

not offer the opportunity to put some order in an almost meditative chaos inside and outside …

Collage and found material are the core: newsprint, photos, images … In any magazine

What that means something you can ‘add a greater value, the sum of the materials can’

be manipulated to create works of art that tell personal observations on ‘art, culture,

politics and personal stories.

materials:

photos, writings, discarded books, blank books, paper objects found, glue sticks, pencil, material color: Color

acrylics and oil pastels, markers etc.

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<<<

ABSTRACTIONS in QUILT MAKING:

with the Japanese artist Akiko Suzuki

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>

Aims:

Creating a small quilt abstract using ancient Japanese kimonos as a starting point

Creating a quilt made up of clothes paintings

Creating a quilt that combines Japanese kimono and clothing painted with the use of sewing

hand

The material will be ‘provided including iron.

* NOTE for PARTICIPANTS: since this is a highly developed and intense workshop ask

participants to be prepared to invest a whole day or half-day sessions and take in

consider the possibility of multiple daily sessions to complete these quilts.

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>

Israeli artist

Vered Gerzstenkorn:

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<<<<

His approach to painting offers complete freedom to the impulses of the child in the ‘artist.

“Most of my collages (if not all) are made of my drawings / paintings,

difficult to use material found to create them. I’m going to use my way to work

workshop together with the use of techniques acrylic. ”

The Workshop of Vered will prove extremely innovative and experimental, putting the participant

possibly in unfamiliar territory, then ushering back with painting the wall with their eyes first

closed and then opened; extrapolating drawings and paintings in formats and unusual and unexpected juxtapositions.

Materials needed:

oil pastels, paint from home, pencils, everything that is able to make a mark.

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>

DRAWING

facilitated by American artist

Joan Stennick

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<<<

… Is a high-energy class based on the essential tools of drawing inspiration tranedo

from life, from objects and fantasy with music and under the direction and encouragement

of Stennick whose approach will be ‘able to accommodate all skill levels. She esplorarera ‘new methods

of mark-making awakening new working relationships with materials through an intuitive approach to

artistic practice.

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