T'Alyne history and influences

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  • 1. www.talyne.org t’alyne 1970 Wheatridge, CO. BA, BFA, MFA Arizona State University
  • 2. Influences Tapestries were ubiquitous in the castles and churches of the late medieval and Renaissance eras. At a practical level, they provided a form of insulation and decoration that could be easily transported The Drowning of Britomartis, 1547–59 Probably designed by Jean Cousin the Elder (French, ca. 1500–ca. 1560); possibly woven by Pierre II Blasse and Jacques Langlois (both French, active 1540–60) Wool and silk Otto, Count of Nassau, and his Wife Adelheid van Vianden, ca. 1530 Bernaert van Orley (Flemish, ca. 1488 or 1491/92–1542) Pen and brown ink, watercolor over traces of black chalk; on verso, tracing in black chalk of the figures on recto
  • 3. Influences Marc Chagall (1887–1985), born in Belarus to a Hassidic family, began his education at a traditional Jewish school in Vitebsk. After studying with a local artist for several years, the artist moved to St. Petersberg in 1907 and continued his studies at the Zvantseva School. Chagall moved to Paris in 1910 and his inventive imagery won immediate recognition in the city's avant-garde circles. Here he began to assimilate cubist characteristics into his expressionistic style. He is considered a forerunner of surrealism. Chagall's dream-based imagery was revered by contemporary Surrealists yet he refused to join the movement, preferring to pursue his individualistic path. Chagall maintained a consistent style throughout his long career. His frequently repeated subject matter was drawn from Jewish life and folklore; he was particularly fond of flower and animal symbols. The artist translated his imaginative folkloric imagery to stained glass and designed windows for cathedrals in Metz and Reims. Among his well-known works are I and the Village (1911; Mus. of Modern Art, New York City) and The Rabbi of Vitebsk (Art Inst., Chicago). He designed the sets and costumes for Stravinsky's ballet Firebird (1945). Chagall's twelve stained-glass windows, symbolizing the tribes of Israel, were exhibited in Paris and New York City before being installed (1962) in the Hadassah-Hebrew Univ. Medical Center synagogue in Jerusalem. His two vast murals for New York's Metropolitan Opera House, treating symbolically the sources and the triumph of music, were installed in 1966. Much of Chagall's work is rendered with an extraordinary formal inventiveness and a deceptive fairy-tale naïveté. Chagall illustrated numerous books, including Gogol's Dead Souls, La Fontaine's Fables, and Illustrations for the Bible (1956). A prolific artist and dazzling colorist, Chagall's vast oeuvre of both religious and secular subjects has gained worldwide recognition.
  • 4. Influences Diebenkorn’s use of color, line work, and abstraction of landscapes.
  • 5. Influences Laura Owen’s large scale abstract minimal paintings and naturalistic subject matter in her tapestry work.
  • 6. Influences Rothko’s created environments i.e. Rothko Room, Tate Modern and the Rothko Chapel, Houston, Texas. In addition, the spiritual and meditative qualities in his work.
  • 7. Environmental Influences The markets, village, beach, aquatic migration, and the Sea of Cortez in and around Puerto Penosco, Mexico influenced woodcut and intaglio work from 1994-2000.
  • 8. Environmental Influences Sea of Cortez aquatic migration- Gray whales, dolphins, jellyfish, glo- worms
  • 9. Woodcuts influenced by environmental research in Mexico.
  • 10. Intaglio works influenced by environmental research in Mexico.
  • 11. Environmental Influences Southern France, vineyards, telephone poles and lines, architecture
  • 12. Environmental Influences Roman Aquaducts-The Pont du Gard is an aqueduct in the South of France constructed by the Roman Empire, and located in Vers-Pont-du-Gard near Remoulins, in the Gard département. The ancient Romans typically constructed numerous aqueducts to serve any large city in their empire, as well as many small towns and industrial sites.
  • 13. Environmental Influences Rousillion, France The history of Ocher in Provence began 110 million years ago when the area was covered by a sea, which deposited a mix of gray clay and sea sand full of minerals. These minerals included Glauconite, the distant ancestor of Goethite which gives Ocher its color range from yellow, the iron oxide limonite, to orange, to red or iron oxide hematite. Man or pre- humans' use of Ocher began with body painting, burial and fertility rites as found in both Neanderthal and Cro-Magnon archeological sites. But the most dramatic prehistoric use of Ocher can be found in the nearby caves of Lascaux and Chauvet where some of the most beautiful examples of early human art have survived for over 30,000 years.
  • 14. Environmental Influences Lascaux is the setting of a complex of caves in southwestern France famous for its Paleolithic cave paintings. The original caves are located near the village of Montignac, in the Dordogne département. They contain some of the best-known Upper Paleolithic art. These paintings are estimated to be 16,000 years old. They primarily consist of realistic images of large animals, most of which are known from fossil evidence to have lived in the area at the time.The cave contains nearly 2,000 figures, which can be grouped into three main categories — animals, human figures and abstract signs. Notably, the paintings contain no images of the surrounding landscape or the vegetation of the time
  • 15. Environmental Influences Camac Centre D’Art, Marnay sur Seine 3 year Artist in Residence
  • 16. Environmental Influences Seine River flooding
  • 17. Environmental Influences Paris since Roman times buried its dead to the outskirts of the city, but this changed with the rise of Christianity and its practice of burying its faithful deceased in consecrated ground in and adjoining its churches. By the 10th century, because of the city's expansion over the centuries, there were many parish cemeteries within city limits, even in central locations. When Paris' population began to rise rapidly in the following centuries, some of these cemeteries became overcrowded where expansion was impossible. Soon only the most wealthy could afford church burials, which led to the opening in the early 12th century of a central burial ground for more common burials: initially dependent upon the St. Opportune church, this cemetery near Paris' central Les Halles district was renamed as the 'Saints-Innocents cemetery' under its own church and parish towards the end of the same century.
  • 18. Exhibition Eglise de Saint Jacques, Dival, France Gaps of Time
  • 19. Public Art CAMAC Centre D’Art, Marnay sur Seine DaVinci Room
  • 20. Public Art CAMAC Centre D’Art, Marnay sur Seine DaVinci Room
  • 21. Public Art CAMAC Centre D’Art, Marnay sur Seine DaVinci Room
  • 22. Exhibition Solo Exhibition. Wellington Institute of Technology, New Zealand.
  • 23. Environmental Influences The Japanese rock gardens ( karesansui?) or "dry landscape" gardens, often called "Zen gardens" were influenced mainly by Zen Buddhism and can be found at Zen temples of meditation. Japanese gardens are a living work of art in which the plants and trees are ever changing with the seasons. As they grow and mature, they are constantly sculpted to maintain and enhance the overall experience; hence, a Japanese garden is never the same and never really finished. The underlying structure of a Japanese garden is determined by the architecture; that is, the framework of enduring elements such as buildings, verandas and terraces, paths, tsukiyama (artificial hills), and stone compositions.
  • 24. Exhibition American River College, Sacramento, California Merged, fiberglass, varnish, pigment 7‘x12‘x24’
  • 25. Environmental Influences The beauty of Shoji screens originated in Japan as lightweight, wood framed panels used primarily as sliding doors or room dividers. Initially, Shoji contained a grid on one side with a thin paper, which was replaced every Japanese New Year, glued to the back of the screens. Shinto ( Shintō?) or kami-no-michi is the natural spirituality of Japan and the Japanese people. The word Shinto ("Way of the Gods") was adopted from the written Chinese ( ),[1] combining two kanji: "shin" ( ?), meaning gods or spirits (originally from the Chinese word shen); and "tō" ( ?), or "do" meaning a philosophical path or study (originally from the Chinese word tao). Shinto is a religion in where practice (actions) and ritual, rather than words, are of the utmost importance. Shinto is characterized by the worship of nature, ancestors, polytheism, and animism, with a strong focus on ritual purity, involving honoring and celebrating the existence of Kami ( ?). Kami are defined in English as "spirit", "essence" or "deities", that are associated with many understood formats; in some cases being human like, some animistic, others associated with more abstract "natural" forces in the world (mountains, rivers, lightning, wind, waves, trees, rocks). It may be best thought of as "sacred" elements and energies. Kami and people are not separate, they exist within the same world and share its interrelated complexity.
  • 26. Exhibition Group Exhibition. Toledo Museum of Art Jurors: Vince Castagnacci and Tarrance Corbin
  • 27. Environmental Influences Crabtree Falls, Virginia Studio view at Virginia Center of Creative Arts, Amherst, VA
  • 28. Exhibition Over the river and through the woods production shots fiberglass, varnish, pigment, steel 8‘x15’
  • 29. Exhibition Over the river and through the woods fiberglass, varnish, pigment, steel 8‘x15’
  • 30. Exhibition Solo Exhibition. Emerge West Michigan Natural Storage. Gypsum Mines 85’ below the surface
  • 31. Exhibition Solo Exhibition West Michigan Natural Storage. Gypsum Mines 85’ below the surface
  • 32. Environmental Influences Water Rain, Lakes, Clouds, Rivers, Waterfalls
  • 33. Fellowship Studio production of Chandeliers Vermont Studio Center Fellowship April 09
  • 34. Public Art Chandeliers: Sunshine, Planes, Mountains, Waterfalls Artprize 09 Huntington National Bank, Grand Rapids, MI fiberglass, varnish, pigment 8’x4’x4’
  • 35. Public Art Chandeliers: Sunshine, Planes, Mountains, Waterfalls Artprize 09 Huntington National Bank, Grand Rapids, MI fiberglass, varnish, pigment 8’x4’x4’
  • 36. Lake fiberglass, varnish, pigment 7‘x3.3’
  • 37. Raindrop tap Swamp rain fiberglass, varnish, pigment fiberglass, varnish, pigment 7‘x3.3’ 7‘x3.3’
  • 38. Insidious Rain Insidious drizzle fiberglass, varnish, pigment fiberglass, varnish, pigment 7‘x3.3’ 7‘x3.3’
  • 39. Daffodil rain Blood rain fiberglass, varnish, pigment fiberglass, varnish, pigment 7‘x3.3’ 7‘x3.3’
  • 40. Blue Rain Next Rain varnish, pigment on wood panel varnish, pigment on wood panel 20”x20” 20”x20”
  • 41. Playing Rain over varnish, pigment on wood panel varnish, pigment on wood panel 20”x20” 20”x20”
  • 42. Rainy sun Rain under varnish, pigment on wood panel varnish, pigment on wood panel 20”x20” 20”x20”
  • 43. Public Art Catholic Diocese, Grand Rapids, Michigan “Let the waters bring forth...” Slideshare link: http://www.slideshare.net/talyne70/081508-banner-artworklowres
  • 44. Public Art Chandeliers Fiberglass, varnish, pigment, LED lights, anodized aluminum, cable Visit SlideShare for more information: http://www.slideshare.net/talyne70/devos-proposal