Gregory Euclide and 3D paintings
It's not actually my cuppa yet I am attracted to it so in some way it must be appealing to some part of me. I think it's the idea of fantastical. Like th epossibility of being able to get into the painting. Instead of the painting be a capture of something that was real and my size. I get get into the surreal. A smaller fantasy world, where everything is topsy turvy from the norm. LIke the Lion the witch and the wardrobe. The going into alternative, otherworlds. There's something fascinating and magical to behold in there. Mmm so it's more about the ida than his actual work. Are there any others doing this that I would appreciate more?
name into Google
Emptied our seeing in the difficulty of our enjoyment
Bliss
xx
It's not actually my cuppa yet I am attracted to it so in some way it must be appealing to some part of me. I think it's the idea of fantastical. Like th epossibility of being able to get into the painting. Instead of the painting be a capture of something that was real and my size. I get get into the surreal. A smaller fantasy world, where everything is topsy turvy from the norm. LIke the Lion the witch and the wardrobe. The going into alternative, otherworlds. There's something fascinating and magical to behold in there. Mmm so it's more about the ida than his actual work. Are there any others doing this that I would appreciate more?
Gregory Euclide
moves from LPs to
art galleries
From Paul Simonon smashing
his bass to smithereens on
the cover of London Calling to
Nevermind ’s dollar bill-chasing
baby, great albums and iconic
artwork tend to go hand in
hand. And in the age of iClouds,
boarded-up record shops
and dwindling physical CD
collections, it’s good to see
musician Bon Iver and artist
Gregory Euclide keeping this
particular rock tradition alive.
For the cover to his band’s
long-awaited and critically
acclaimed second album, folkie
phenomenon Justin Vernon
enlisted Euclide to create a
unique piece of art that worked
perfectly with the music.
The result of their lengthy
discussions is a subtly striking
work that conveys Euclide’s
unique style of ‘sculptural
painting’. A tranquil painted
landscape has been artfully
ripped, folded and peppered
with miniature tree structures
and found objects (including
real snow and leaves) that give
a 3D effect without the need for
ludicrous specs.
But Euclide’s work with
Vernon is just the tip of a
fascinating iceberg. He’s
recently unveiled a high-profile
exhibition at New York’s
trailblazing Museum Of Arts &
Design. ‘Otherworldly: Optical
Delusions And Small Realities’
is a sprawling show in which
Euclide has taken over an entire
room. The centrepiece is a
5ft-high painting that spills out
on to the gallery floor via a
waterfall of confetti (above).
The artist told us: “I was
thinking about the history of
landscape painting and the way
we frame land to fit our world
view. The work starts off with
a traditional landscape painting
that falls to the floor into a
diorama. It then lifts up toward
the window that overlooks
Central Park, which was a
swamp before Frederick Law
Olmsted moved earth around to
create the park we know now.”
Euclide’s dazzlingly realistic
installations — which incorporate
bits of moss and stones — may
bring to mind meticulous
model-makers, but this is about
as far as you could possibly get
from a middle-aged trainspotter.
With even more ambitious
pieces of art planned, don’t be
surprised if other musicians
soon jab this talented artist’s
Emptied our seeing in the difficulty of our enjoyment
Bliss
xx
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