Untitled, artist in studio.
This series explores the act of observing and how outside content influences the artist and his/her own work.
The studio has often been a secluded place, surrounded by mystery/myths and often off limits to outside strangers.
By offering an inside look at this private setting, we are granted the opportunity to look at something that we don't know what it looks like.
Wanting to see something while not knowing what to expect is creating a tension that adds to the mental charge that is already in play by the different pictorial elements.
Staying away from depicting the act of "fast" direct physical creation and concentrating more on the "slow" mental aspect of influence and inspiration, the emphases is more on the phycological narrative that starts to evolve between viewer and work.
You know what it is not but don't know what it is, something we as artist feel most of the times as well, since the moments that are feeling right, are fare and few between.
you are left with the feeling still not seeing that magical moment that we think creation is although we have never seen it.
and trying to break the closed relationship between the artist and his/her direct influences
The moment that is being watched reflects a crucial moment in the film that
but of course there is nothing being revealed
which lift one crucial moment from the film that gives inside in the artist influence and at the same time reflects on the relationship between the viewer and the work itself.
The concept of the film relates both to the work in the studio surrounding the artist, that has been influences by it as well as the relationship between you as a viewer and the work.
the subtle interplay between the content of the film and the work in the studio is as important as the phycological link between the viewer and the still on the screen.
In this image there are a lot of references to the film still on display on the TV.
Playtime (shot from 1964 to 1967, by Jacques Tati ) was shot on a specially constructed set and background stage, known as 'Tativille'
This is mirrored by the "temporary" dry wall you see in this studio. But the "hight end" (Sony plasma TV and Bang & Olufsen sound system) equipment plus high end chair suggest a more permanent situation.
Photography played a huge part in this film.
To save money, some of the building facades and the interior of the Orly set were actually giant photographs. (The photographs also had the advantage of not reflecting the camera or lights.) The Paris landmarks you see reflected in the glass door are also photographs. Tati also used life-sized cutout photographs of people to save money on extras. These cutouts are noticeable in some of the cubicles (our still) when Hulot overlooks the maze of offices, (he anticipated the dominance of office cubicle arrangements by some 20 years.)
All these references to photography and his use of color and framing (subdued colors no close ups in the entire film) are mirrored in this image and pay homage to a great filmmaker and visionary.
In the film is Umberto D by Vittorio de Sica, which is all about fighting loneliness and isolation and has a very prominent power struggle between a man and a woman, which is mirrored in the studio between the gestures of the men and woman in the painting on display.
The "still" on the screen is the moment that he has decided to beg for money (after all else has failed) but when the person want to put some money in his hand, he pretends to be checking if it's raining by turning his hand
There is a long history of Dutch artist depicting "artist in studio's" like Vermeer's The Art of Painting from 1666, Rembrandt's The Artist in His Studio from 1629, The Painter is his Studio from 1650 by Hendrick Gerritsz Pot or Adriaen van Ostade's The Painter in his Worshop.
Even de Danish painter Vilhelm Hammershøi when painting his magnificent Interior with a Punch Bowl from 1907 was greatly influenced by 17th century Dutch painters as well.
When Piet Mondiaan had his portrait taken in 1906 he chose do be depicted reading a book while sitting at his table instead of him physically working on a painting, emphasizing himself as a conceptual artist.
Since Lajos Geenen grew up in Amsterdam and was exposed at a very early age to Dutch painters like Vermeer, de Hooch and Rembrandt, his compositions and lighting have been greatly influenced by the old Dutch 17th century masters.
This is again clearly visible in this latest series, where the visual execution of the work is shaped by the sculptural power of light.