electric moon moss electric moon moss
  1. Ah, yes, flow. When I’m painting I feel part of the paint. I’m not aware of anything but the paint or the chemicals I’m using. —Carl Apfelschnitt, BOMB 1, 1981
    Ah, yes, flow.

    When I’m painting I feel part of the paint. I’m not aware of anything but the paint or the chemicals I’m using.

    —Carl Apfelschnitt, BOMB 1, 1981

  2. Nick Cave on art— correct as usual— via bomb mag Art, craft, fashion, I don’t really care. I do like that there is this broad dialogue in the art community. We can all fit together. I really avoid associations and keep going. I’ve reached a point where I make what I make. To work in the way I work I have to be fearless. —Nick Cave, BOMB 2011
    Nick Cave on art— correct as usual— via bomb mag

    Art, craft, fashion, I don’t really care. I do like that there is this broad dialogue in the art community. We can all fit together. I really avoid associations and keep going. I’ve reached a point where I make what I make. To work in the way I work I have to be fearless.

    —Nick Cave, BOMB 2011

  3. Good artist. Good advice. You shouldn’t be a prisoner of your own ideas. Everyone gets into their own box and enunciates principles, if only in their own mind—you have your own constraints and your own structure that you think you’re following, and then you realize that what you’re saying is “I can do this, but I can’t do that.” And then at some point you say, “Well, why not?” and the answer is “Because I told myself I couldn’t.” If you keep telling yourself, “You can,” then you are liberated. If you’re totally constrained, all that’s left for you to do is break the mold. —Sol LeWitt, BOMB 85, 2003 
    Good artist. Good advice.

    You shouldn’t be a prisoner of your own ideas. Everyone gets into their own box and enunciates principles, if only in their own mind—you have your own constraints and your own structure that you think you’re following, and then you realize that what you’re saying is “I can do this, but I can’t do that.” And then at some point you say, “Well, why not?” and the answer is “Because I told myself I couldn’t.” If you keep telling yourself, “You can,” then you are liberated. If you’re totally constrained, all that’s left for you to do is break the mold.

    —Sol LeWitt, BOMB 85, 2003 

  4. Kelsey Henderson – BOMBLOG i decided to pick one of her paintings that *isn’t* just trying to get your clicks with its faux porn, lucien freud-esque non-style style.kelsey henderson’s paintings get a big yawn.we don’t need more painters delighting in anonymity and first impressions in an age when that’s by rote our default level of interaction.we don’t need to see more naked women looking… at… nothing….just, you know….being….naked. (hey, your dudes are clothed! why aren’t the girls…? and what’s up with her porn shoes…?) then there’s this gem from self-described “aspiring collector” Lynn Maliszewski “Straying from the dilution of her camera’s flash, Henderson pursues a new strain of warmth and humanistic portrayal that breaks from the aloofness of her earlier work.”ugh. no. her work is still “aloof” and there’s nothing humanistic or warm about these images. these images are so white, the skin is so white! plus, the camera’s flash is clearly visible. you can SEE the influence of working from photographs (not models) and, specifically, the flash on the skin, in the whites, and in the lack of shadows.

    Kelsey Henderson – BOMBLOG

    i decided to pick one of her paintings that *isn’t* just trying to get your clicks with its faux porn, lucien freud-esque non-style style.

    kelsey henderson’s paintings get a big yawn.

    we don’t need more painters delighting in anonymity and first impressions in an age when that’s by rote our default level of interaction.

    we don’t need to see more naked women looking… at… nothing….just, you know….being….naked. (hey, your dudes are clothed! why aren’t the girls…? and what’s up with her porn shoes…?)

    then there’s this gem from self-described “aspiring collector” Lynn Maliszewski “Straying from the dilution of her camera’s flash, Henderson pursues a new strain of warmth and humanistic portrayal that breaks from the aloofness of her earlier work.”

    ugh. no. her work is still “aloof” and there’s nothing humanistic or warm about these images. these images are so white, the skin is so white! plus, the camera’s flash is clearly visible. you can SEE the influence of working from photographs (not models) and, specifically, the flash on the skin, in the whites, and in the lack of shadows.

About me


.:|:. Graffiti .:|:. Street Art .:|:.
.:|:. Urban Art .:|:.
.:|:. & Art + Culture .:|:.


.:|Me|:.

Creative, Graphic Designer, Marketing Consultant.

http://flavors.me/reelaesthete
reelaesthete[at]gmail[dot]com


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