Tutorial / Naomi Pearce 10.3 11

NAME OF STUDENT: max strasser

NAME OF TUTOR: naomi pearce

DATE: 10.3.11

STUDENT TO FILL IN:

What points were discussed during the tutorial?

First we talked about the diversity of my work, and that a fix red thread is not yet visible. we talked about the newest work (guy with pot on his head) and naomi questioned if the scale should be smaller, more intimate. Naomi mentioned, that I seem to construct images that are outside world. I mentioned my interest in the -fake-, (such as my fake CCTV pictures, or UFO pictures), and in the appearence. also the new painting from the guy with the pot on his head appears to have another context (it actually is an image of one of the protesters in Egypt, that protects his head from the thrown stones. Naomi suggested me to spend a day searching for things that are fake, or seem to be something what they are NOT.

What issues will be thinking further on as a result of this conversation?

I will think further about the discrepancy between appearance and being within my paintings. I´m interested in images, that seem to be something, but are something else. Not in terms of formal abstraction, but in terms of meaning. I will also think about, how the title, and also the painting characteristics influences the meaning.

STAFF COMMENTS:

We began by discussing the position of your practice in relation to other more established painters such as Gerhard Richter. In terms of your interest in depicting moments of uncertainty or creating a sense of unease within the viewer we both agreed that Michael Borreman successfully achieves this. This led us to discuss in more detail the importance of scale and the possibility of building up a narrative with multiple canvases which relate in some way to one another.

I suggested looking at artists who work across a diverse range of media but still explore similar conceptual themes, these included Jamie Shovlin who repeatedly explores ‘the fake’ in his practice. Other artists that may be of interest include Gregory Crewdson and Robert Gober for their presentation of familiar and domestic scenes/objects in a disconcerting and uncanny manner.