Images

For some time I have been engaged with using the camera as an art tool. I hope to push the photographic medium, closer to the far more mature and developed art of painting. I have been working consistently on a personal, experimental and unique process of art. Presenting images derived from photographically captured found objects. I start off with traditional film capture techniques, giving me a wide range of options, and later develop the images digitally. I retain the integrity of the photograph, then push the image towards painterly abstraction, emphasizing composition and formal qualities. I apply a 'for its own sake' approach more related to modern painting than photography. I feel most recent photography, is predominantly limited to the narrative, and is often hindered by the need to be technically correct. In contrast I see photography, as being in a kind of infancy as a purely expressive and very accessible force.

My work strives to extract and reintroduce almost human and refined forms, from everyday mechanical objects, found on any urban roadside. Final images are selected from a vast number of photographic variations. I take thousands of photographs, and the final presentations are an intensively worked selection. I base my work on exploring new ideas and concepts, within set technical constraints, embracing an essential need to surprise myself at every stage. This is a positively obsessional, and very long term, ongoing working process, rather than a project with any fixed starting and ending point. There is often a kind of incompleteness that I embrace, placing priority on the potential, above a finished object. I question the value of something finished. Therefore, Images are always in series. In my work process, I am trying to encapsulate a range of complex emotions and experiences from different times, rather than trying to capture and present a special moment. There is also an important element of entertainment about the images, in preference to any intense serious or political messages. It is my hope that the photographically originated image might one day reach the status of an abstract painting, rather than remain limited to a lesser record of an event.

Content

Usually when we take a photograph there is some kind of reasoned intention. But there is a set of secondary reasons that exist when we see something. I always choose to capture images of things that are in some way out of place, or in a different and unfamiliar setting. How often I have said ‘What’s that doing there?’ It is important to consider the surrounding elements and spaces as part of the object. When I take a picture I am concerned that the object is not the intention, or importantly, that the object might actually get in the way of any intention. taking me away from what I am familiar with, eventually in a positive way. Intentions are vague and always a much bigger concern. The captured object is internalized, adjusted and re-represented with an assigned quality or subject which makes the original photographic captured image no longer evident and almost, but not wholly unimportant. For me a photograph or a painting alone could never be enough.

Images are printed to the highest possible standard on archival fiber paper in limited editions of twelve. Standard Image size is 15.25 x12.2 inches.

Brendan A. Linane

Attended Saint Martin’s school of Art, and completed post-grad. Fine Art at Chelsea school of Art, London 1977. Exhibitions since 2005 include: Four Seasons Gallery, F Stop Gallery, On Art Gallery, Zen Gallery, Sheraton Art space, Camden Gallery, Koi Art Gallery, and more recently: Three Shadows Gallery, Beijing, Tianjin Port Museum, China. ‘Dream and Life’ expo Wuhan China, China Art Expo, Songzhuan Art Expo Beijing, Songzhuan Museum Beijing, Han Tianheng Art Museum, Shanghai and GM Gallery 798 Beijing.

 

 

 

圖像

有一段時間我一直嘗試著把照相機作為一種藝術工具,希望以此推動攝影媒介的發展,因為它更接近成熟和發達的繪畫藝術。我一直嘗試著個人實驗性藝術,在攝影物體圖像的基礎上,對其進行加工繪畫。我從傳統的膠捲捕捉的技術開始,這給了我很廣選擇範圍,並且在之後發展了數位影像。我保留完整性的照片,然後對其進行繪畫抽象地處理,強調組合感及其之前的攝影圖像的固有特點。我用 為了自己”'方法,這更接近現代繪畫而不是攝影。我覺得最新的攝影,主要受限於敘事,這也受到影響技術本身要求正確性的阻礙。相比之下,我認為攝影,有著一種初生階段可供使用的純粹表現力量。

 

我的工作在於提取與再介紹幾乎所有的精煉的形式,從在城郊的路邊發現的日常的機械物件。最後的圖像取材于大量不同的攝影材料。我照了上千張攝影圖片,最後的呈現方式是把所有最有表現力的部分集合。我的工作是建立在探索新觀點和概念的基礎上,通過設置技術限制,並且在每個階段都非常需要給自己創造一些新的驚喜。這是一個積極的設想,需要是一個長期迴圈持續的工作過程,也沒有一個有任何確定的起始點。在已經完成的物體圖像中,作品呈現的常常是是不完全的圖像,因為我把圖像可能性放在首位。我質疑自己完成的作品的價值,因此,作品總是以系列的方式來呈

現。在工作的過程中,我試圖壓縮在不同時期的許多經歷和複雜的情感,而不是表現某一個特別的時刻。另外一個重要的因素是圖像的娛樂性,這在於它偏好表現政治資訊和重大時事。我所希望的是借用攝影的圖像某天可以達到抽象繪畫的地位,而不是僅僅停留在記錄事件的用途上。

內容:

通常,我們都帶著某種理性的意圖去照相,但是這背後還存在著一系列的因素。我往往用一種不合理的方式,或者說特別的不尋常的放置來捕捉圖像。我經常問:它在這裡做什麼?把環境和空間因素當做物體的一部分來考慮是非常重要的。我認為物體本身並不是目的,更重要的是,物體實際上可能會妨礙我的最初的意圖。最終以積極的方式,使得我遠離我熟悉的事物。目的總是模糊不清的,並且常受到更多的關注。被捕捉的圖像內在的,調整的,再表現的,並且帶著特定的主題或者性質,這往往使得原本被借用的原始的圖像不再明顯,但卻不完全不重要。對我來說,一張圖片或一張畫往往是不足以表達問題的。

圖像列印在品質很高的纖維紙上,限量12張。圖像的標準大小是15.25 x12.2英尺

Brendan A.Linane

教育:取得聖馬丁藝術學院研究生學位。1977年,切爾西藝術學院畢業。

展覽2005年起:四季畫廊,F 停止畫廊,On 藝術畫廊,禪畫廊,喜來登藝術時空,卡姆登藝術畫廊,Koi藝術畫廊。 最近展覽:三影子藝術畫廊,京津港口博物館,夢想和生活中國武漢博覽會,中國藝術博覽會,北京宋莊藝術博覽會,北京宋莊博物館  北京,韩天恒美术馆,

上海和通用画廊798北京。