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peitajean · 5 years
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Tuesday 26 February 2019 Diary Entry....
I left work early to sit alone in a bar (yeah... these times...)
Afternoon beer. Music in headphones. And the world goes by... 4pm. It’s quiet.
I get the usual semi-predatory, semi-hopeful, semi-quizzical, semi looks  from the few older “local drinkers,” stationed. (men in their 60′s with nothing better to do).
I take my pint to sit alone, earbud adorned/protected, and watch the street from the front balcony.
Some moments pass....
He sits at the same bench, looking out over the traffic. 4 seats down.
Dusty coloured, sun-ripened, younger.... Jeans, new Cons, cut sleeveless shirt sides hang loose and low.
The warm, caramel, undulating landscape of toned lat dorsi, serratus anterior and obliques roll and curve, 
I can see, 
beyond that shirt.
He’s focused on his phone. I have my sunglasses on. His food arrives. 
I imagine the taste of him.
My tongue in all those warm, hard, smooth places
the prescient musk of him
Lapping him up, drinking him in...
Curling myself into and around  
Being roped, being scaffolded by those ready, able arms.
He’s texting. Its probably his girlfriend.
I don’t know if he’s noticed me...
3 men in suits walk by. I wonder about the difference.
I sip my beer.
He’s going to leave 
and nothing will come of this moment. I realise this is all I am now... older woman...
A woman,
a single mother
on her own.
Its the weight of every moment, the world trapped in routine.
So full
... So
Full.
Bursting
to rebel, to feel, to do and be everything.
But nowhere to let go.
He leaves.
He did look.
I cry a little
And move on to the next routine part of my day.
- PeitaJean
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peitajean · 7 years
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She Of beautiful mind Summoned
Brilliant dreams Via languages She shaped to her Curves
Time Hers to command As am I
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peitajean · 7 years
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satisfied
you sit cross-legged on my bed, a stripe of sun across your lap, bending the day to your will,
and you’re cruel with your beauty, the stamp of approval that nature has planted like an eager kiss, you abuse it and the love that others slay dragons for,
what lands softly in your hands
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peitajean · 7 years
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Jafet Blanche
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peitajean · 7 years
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»i was young i needed the money« by allen grubesic (+)
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peitajean · 8 years
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‘Performativity and Traces of Action’
“[A bodily gesture] bears the meaning of thought as a footprint signifies the movement and effort of the body” - Maurice Merleau-Ponty In this section of The Primacy of Drawing, Petherbridge explores the phenomenon of the corporeality of the mark, or line, in a drawing. Of the mark as direct expression of both the artist’s physicality in making, and its connection with the artist’s intention toward, and expression of, meaning in a drawing. This article points out the basic tenet (in Petherbridge’s rather endearing persistent verbosity) that, when it comes to the making of marks and the making of drawings, “nothing happens in a bubble”. Intention, meaning, viscerality, corporeality, physical presence of the ‘artifact’, emotional-physical-temporal presence of the artist, and the ensuing same in the viewer, all ‘arise interdependently’ (to coin a Buddhist phrase). “Identification with the passion or speed of a mark as an analogical trace of artistic embodiment is sustained within the domain that Merleau-Ponty describes as incorporeity. ‘This means that while each monocular vision, each touching with one sole hand has its own visible, its tactle, each is bound to every other vision, to every other touch’. Such a phenomenological binding of vision and touch can endorse a sense of presence or being-there that induces a blindness to the historicity of process and the intentional codification of meanings.” Inferring that, further, in the immediacy of the present moment of experience, past and future and all the meanings they ‘contain’ (meaning can and only arise in thinking about the past or future), fall away.  (I am noticing a very Buddhist way of looking at things coming through here! And quite rightly so, as it is quite rightly correct! ;-) )
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peitajean · 8 years
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This is a really interesting work. From the perspective of a life model, I find it rather disquieting. The issue of power in the life drawing arena is thoroughly disrupted here, and, even though this “Life Model” (not “life” at all) is inanimate, there seems a vulnerability about it that I guess can only be attributed to a kind of transference or anthropomorphising of the “object”. I even feel uncomfortable calling it an “object”! But because it is an object, (yet still humanoid enough to engender a kind of ‘projected’ empathy) it cannot put on the ‘veil’, shall we say, of ‘model at work’. It cannot be seen to consciously assume the protective role of perfomance. There is a sense of nakedness (vulnerable) rather than nudity (concious action) here because the “thing” cannot act. It is stuck where it is, as it is, no matter what happens, with no volition of its own. The space between the people milling around or drawing and that of the “body” of the model becomes highly charged for me - even though it is just an object! Also the regular urinating further intesifies the sense of a representation of vulnerability as ‘bodily functions’ are something life models take great pains, generally, to hide or avoid whilst at work. Particularly when it comes to the functions of the genitalia. A very interesting and evocative installation!
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peitajean · 8 years
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Leonard Baskin’s stunning and ghoulish illustrations for Dante’s Inferno. http://www.rmichelson.com/artists/leonard-baskin/divine-comedy-watercolors/
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peitajean · 8 years
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“Bleeding Trees is an early environmental work where the body is used as an 'emotional barometer' placed in empathy with the natural and unnatural life cycles of trees. The empathy enlisted through the viewer is through identification with the human body. As female, the early feminist critique places the naked body as 'pandering to the male gaze'. In an environmental sense it is a gaze towards all.” http://jillorr.com.au/e/bleeding-trees
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peitajean · 8 years
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Michael Alan's Draw-A-Thon Theatre
While sippin on some brews over at Hope lounge, I overheard some artist types talking about illustration, and after further investigation met Michael Alan, who told me about Draw-A-Thon Theatre. What started out as a small meeting in a coffee show in 2005 has now evolved and grown into what is now known as Draw-A-Thon Theatre. Started by SVA teacher and artist Michael Alan, Draw-A-Thon is a collection of the masses, showing showing no discrimination, and allowing for art to collaboratively grow into an organic statement of art activism through expression. It is one of the few theaters settings were the audience members are encouraged to move from seat to seat, stand on chairs for a new perspective, hum along with the music, move up close for a better look, or take a nap on the floor. Though called a draw a thon, everyone is free to reinterpret the living art they see through painting, writing, collage, sculpture, thinking, or even joining in the stage performance. Such space as The Gershwin Hotel, Teatro Iati, Tearto Circulo, Jack the Pelican Presents, The Chelsea Art Museum, Pochron Gallery, and, unwittingly, the Whitney Museum have all opened their doors and hosted performances, but they are looking for a place to call home, in order to consistantly morph into something that they can call home. If this all sounds vague, its because it is. One has to experience to fully grasp what is really going on here. Check out the video below to get a better idea of the growth and vision of this Theatre and make sure to check out the next drawing session, which is also a birthday party for Michael Alan. Details here.
DRAW-A-THON: featured in NY Times from Michael Alan on Vimeo.
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peitajean · 8 years
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Further experiments in class with masking and artist-model interaction/acting body. The life model wore a woolen “beard mask”, dipped in in ink and drew across our drawings of her with it as we drew her. These a some of my favorite drawings from class. I love the looseness and spontaneity of them. The gargoylishness juxtaposed with the womanliness. And Im really enjoying using mixed media (here I used charcoal, conte, soft pastel, oil stick, acrylic paint and ink) and working with colour.
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peitajean · 8 years
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One of my two final folio pieces for the topics ‘Artist and Model’, focusing on the “phenomenon of the artist-model interaction’, and ‘Acting Body’, which looked into the “phenomenology, corporealityand kinesiology of drawing”. As with the previous folio pieces I submitted, the two themes became somewhat interchangeable with each piece. Mixed media self portrait from a photo. Larger than life. Hmmm. Is the quote from Petherbridge below as applicable if I drew (as I did) a self portrait this time not from a mirror but from a posed photograph? “The stripped self-portrait acts as the shadow image of Apelles in the Studio, rejecting the emblematic signifiers of the social metier (business/trade) of painting in favour of an insistence on the promacy of the body and individual subjectivity. Such drawings fly in the face of contemporary theories of relational aesthetics and shared authorship, where the authorial self is left only the task of constituting the conditions of production of the work. They also challenge those time-based acts of self-absorbed performativity, the subject of so many contemporary performance or installation works, in which the artist’s body usurps the mirror as a fetishised substitute for spectorial consumption. Drawing, with it’s long embedding in historical practice, continually challenges and subverts assumptions about contemporary art, but it seems that its fascination with its own iconography and traditions is as strong as ever.” - from Deanna Petherbridge, ‘The Artist Stripped Bare’ in The Primacy of Drawing: Histories and Theories of Practice, Yale University Press, 2010.
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peitajean · 8 years
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Jenny Saville.
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peitajean · 8 years
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peitajean · 8 years
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Experiments in ‘performance drawing’ and using one large sheet of paper as my ‘drawing arena’. Using full-body, repetative, dance-like movements in making the marks, and in the bottom dawing, tracing my own outline. Referencing the work of Heather Hansen. 
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peitajean · 8 years
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From drawing class 17/05. Looking at the “phenomenology, corporeality and kinesiology of drawing” in relation to the model, our (the artist’s) acting body and the relationship between these and the marks we make in the process of drawing. We had to stay on top of our paper while we drew. Our “drawing arena”. The white lines on the one with three figures are where I traced my legs and hips. Adding red acrylic mixed with imasto to another one at home. 
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peitajean · 8 years
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Hilarious.
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by rero (+)
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