Short story festival at the Triskel

Last night at the Triskel, Cork, graphic novelists Carol Swaine and Etgar Carret featured their sketches live, in an experimental presentation.

In a short Q&A with the artists, it was stated that these comics did not fit in tbe mainstream of graphic comics in which appreciatively  was acknowledged by the collective audience. A general consensus between the artists agreed that the writted word was best at a minimal due to the power of the illustration in the telling of the story.

Carols work was presented very structurally which she said had little reasonings on her behalf however personally I think it identified well with the filmic style that she uses. This style is shown clearly by her illustrated perspective. It allowed great interpretation for the reader and growth for the characters.

Etgar's work on the other hand featured great narratives, it was very cleverly written. His culturally light weight themes were well balanced with subtle acknowledgement of reality [clearly featured in the story about the Child and the Piggy bank] making the story very interesting to readers and again, like Carol giving the reader an entry point or role in the story.

The contemporary form brought forward in the styling and storytelling of these comic bring an acknowledgement to the broad spectrum of art forms. The conceptual approach hinted amoung the stories advance the traditional mechanism of comic making.

Notes:
Carol swane:
Fiod boy
Invasion of the mindswapers

Etgar carret
Graphic novel to film
Imaginative
Canne film festival prize winner
Voice if next generation

4th year, how ar' ya'?!

**TYPEWRITER SOUND**  -DAY THREE-

The first week back in college, mixed emotions I must acknowledge. I am very excited about this semester, getting back into the swing of visiting art galleries and exploring new artists - how could one not feel good. Nervousness is also a brewing feeling;  but I'm sure that will filter down!

I had my first thesis meeting of the semester yesterday - I am all hyped up to get started. I am basing it on the term 'Screen Dance'. My studio tutors asked to define it today; yikes it's complicated was my response, however I'll break it down for you:

SCREEN
Contextually, 'screen' refers to the filmmaking aspect. Though cinematography is a rather new process, rules and boundaries skim the perimeter of the process. Fine Art Film breaks these boundaries and pushes the commercial and Hollywood characteristics away breaking into the third wall and using the camera like paintbrush to paint an abstract painting. The camera becomes another entity.

DANCE
Anything that has the adjective 'Classical' in the fore of a discipline generally means there is a technique  and method to be followed, surpassing these creates a new experimental and contemporary form which evolves to becoming a part of the fine art medium as it becomes more interpretative and expressionistic. In music John Cage broke all rules imaginable in his compositions. As did ballet; Vaslav Nijinsky, admired as one of the 20th Centuries greatest male ballet dancers. He evolved ballet to become thematically bolder and too broke the traditions of classical ballet making it a new form.

Together the montage of music, dance and film form the perfect 'Screen Dance'. I'll come back to this again soon. Off to see 'Modern Families' at the Lewis Glucksman Gallery now.

Toodle pips!

The Metamorphosis of Nothing

Our physical being changes all the time. With the evolution of our body we grow subsequently older. However our mentality is never the same, the chronology of this change is incoherent. When at an age, especially in adolescence through to our thirties or forties, our certainty of our identity is challenging and sometimes unknown. Who we are and who we want to become are questions that reappear. We often get stuck and though you may seem you are going in a positive or structured direction, our past, our personality, our addictions and genetics hold us back and keep falling back in. As time elapses we acknowledge change, though when change continues, the metamorphosis of nothing within goes on. 

Blank Emotion

Including the voyeur

**POST IN PROGRESS**

A Tragic Vanity

Continuation from previous post...

What is real beauty? When we look in the mirror are we blind to the way we look? A common artist practice for assessing your own work is to leave the piece of art work and look at it at another time as if you have never seen it before, then ask yourself; what is this work about? Often more times than not you won't be able to answer this question, but when you do, it could mean one of two things -- your codding yourself or you may have created something very special.

However, when relating this theory back to my original question -- 'what is real beauty?’ how is it represented? Are we dressing like others; is make-up a cover up? Is it necessary? A recent study on one particular model shows a dramatic change. See for yourself and ask what's the natural look or is this even a valid question? 

 

Narcissius - Not just a Greek Myth

The Ancient Greet story of  Narcissus - the handsome Greek youth who rejected the desperate advances of the nymph Echo. As punishment, he was doomed to fall in love with his own reflection in a pool of water. Unable to consummate his love, Narcissus 'lay gazing enraptured into the pool, hour after hour, though eventually, through utter fatigue he fell into the water and changed into a flower that bears his name, the narcissus.


It is clear in my mind that this theory of ones self-love has certainly carried through the ages and has indeed been applied to every cultural since in some way or form. For example, if you were to look at hierarchy alone - through time, notable historical figures have come up presenting themeselves with utmost glory, proclaiming that they are who everyone should; they look the way everyone else should look; and act the way everyone should act.
 

Take the egyptians for example, their elaborate clothing and outstanding head pieces - they believed in the overwhelming no matter how expensive or strange it may have looked to the poor of society. Even there actions were riddled with vanity; 'Seth' the God of Chaos, was afraid of losing power to his brother, so he killed him.  





 

King Henry VIII
An 'Elitist' Character

This is only the eqytians, think further along time and you will meet rulers from the Roman Empire, the stately Tudors, the regal Romanseque artists and the roylal victorians --  all of whom in some way or another, have echoed the story of Narcissus.






Queen Elizabeth II
An 'Elitist' Character

Today, there is a society that perceieves this historical culture of vanity, egotism, conceit and indeed narcissism though an the indulgence of ones-self. The doctoring of ones physical features either pernamently or otherwise through the 'nip-tuc' proceedure has become extensively popular. However it is broadcasted throughout the world as if it should be or actually is accepted or tolerated. A general attitude in society today, If its in the media its ok to do it, or if she can do it, so can I. 
 



Lady Gaga

Yes, there is the few who think conceptually where fashion is their life, bringing new style ideas is very important for the development of society. However there are still cliques that become excessive when it comes to their idea of 'beauty' that we get examples of from the TV such as Essex, Jersey Shore and Dublin's own Tallafornia.



Character from TV Series
'Jersey Shore'