Selected Courses on Digital Art-UOWM

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Rovner, Michal: “Michal Rovner: Fields

Essays by Rιgis Durand, Sylvθre Lotringer and Mordechai Omer.

Video artist Michal Rovner’s unique and ever-expanding alphabet is built of tiny depictions of the human figure. Fields documents her work in this vein over the past three years, including Data Zone, which combines the sculpture and video from her acclaimed solo exhibition in the 2003 Venice Biennale; documentation of the video installation Time Left; works from the project In Stone, including stone moving ‘texts;’ and notebook vitrines. Her recent collaboration with the composer Heiner Goebbels, Fields of Fire, which was made following a trip to Kazakhstan, depicts oil-field fires in a landscape that recalls both the fluid ink brush of the Soong and T’ang dynasty and the hyperkinetic pen of the seismograph: the notion of landscape is transformed from the symbol of constancy to an engine of metamorphosis.”

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Thus spake Freud

“I paint the sort of paintings I can, not the ones I necessarily want.”

“I want paint to work as flesh… my portraits to be of the people, not like them. Not having a look of the sitter, being them … As far as I am concerned the paint is the person. I want it to work for me just as flesh does.”

“I could never put anything into a picture that wasn’t actually there in front of me. That would be a pointless lie, a mere bit of artfulness.”

“The painting is always done very much with [the model’s] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone’s face and it imperils the sitter’s self-esteem less than scrapping a painting of the whole naked body.”

“I don’t want any colour to be noticeable… I don’t want it to operate in the modernist sense as colour, something independent… Full, saturated colours have an emotional significance I want to avoid.”

“Since the model he so faithfully copies is not going to be hung up next to the picture … it is of no interest whether it is an accurate copy of the model. Whether it will convince or not, depends entirely on what it is in itself, what is there to be seen. The model should only serve the very private function for the painter of providing the starting point for his excitement. The picture is all he feels about it, all he thinks worth preserving of it, all he invests it with. If all the qualities which a painter took from the model for his picture were really taken, no person could be painted twice.”

“The aura given out by a person or object is as much a part of them as their flesh. The effect that they make in space is as bound up with them as might be their colour or smell … Therefore the painter must be as concerned with the air surrounding his subject as with the subject itself. It is through observation and perception of atmosphere that he can register the feeling that he wishes his painting to give out.”

“A painter must think of everything he sees as being there entirely for his own use and pleasure. … And, since the model he faithfully copies is not going to be hung up next to the picture, since the picture is going to be there on its own, it is of no interest whether it is an accurate copy of the model.”

Lucian Freud, painter