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The biggest theory that ever influenced my work is theory of rhythm being present in an art work:

Rhythm in our society is a silent companion in everything. After reading several texts from Deluez Guattari “a thousand plateau-of the refrain” and Elizabeth Grosz “Bergson, Deluez and the becoming of unbecoming” the idea that rhythm is not as conventional as society perceives it to be. It is not simply a beat or a part of cores in a song; it’s in every aspect of life. This lead to a question, as the concept of rhythm can touch every feature in our dimension, does it have the potential to produce characteristics in art. Is it present in only in static works? Does it have the potential to accrue in any aspects of art? This idea of something else forcing the notion and having effect on one of the things that make artworks work in the eyes of the beholder. The obsession of understanding that makes gesture, the “true” gesture the center of rhythm focus.

I search for that pure gesture though this collection of artist. They help me understand the idea of rhythm as an essential in life. N its powerful presence even in still objects

Carrie Ann Baade

The Butterfly Lovers

Is a painting that I sometimes go back to look at the details of it. Along with other works by Baade I get inspired by the colour. I don’t take anything theoretical from this work but I go back to it for its aesthetic value.

Jessica Joslin

1st: brass and nbane 2010 2nd animal alchemy 2014

Joslin’s work is a collection of different media the assemblage sculpture. That is what my sets are like. They are either assemblage of object or assemblage of images converted in to objects to come together under a theme in my work. Jessica’s piece work because of the Victorian theme and aesthetic that becomes the pinnacle for her materials. One of tying aspect of her work is the colour scheme with different accents of colour to bring it to life. My sets etherise on spectrum of colours or on singular or a pair of colours to bring my art together

Chris Haas

1st: “Girard “2001 mule deer skull mixed media 2nd and 3rd are process pics

Chris Haas is another artist that I come back to over and over again. Most of the time its for aesthetics of his work. Specifically the repeating gestures of the curved details that appear in this sculptures. This repetition that is present in his work resonates the senses of flow and movement in the work. They somehow look right in their weird colours like they were once real animals that just been captured still for now.

Kris Kuksi

1st: with reverence 2014 2nd: lust and self-abuse 2007 (both mix media assemblage)

Kulsi is one of the artist that I comeback to again and again. Not simply due to his esthetic qualities but I enjoy the detail in his sculpting

Jana Miller

Millers use of the gothing and

Alessandro Gallo

Gallo sculpture started me on the idea of concealing ones face in the performance. The idea of not knowing what is behind the mask and taking on the identity of the mask that mask has imbedded in it/ this also comes with the fact that I do not wish to impose my identity in the work. However just by covering up the face I’m incapable off completely erasing who I’m. I’m still female, still 5’8 along other aspect but I believe that a mask is capable of averting the viewers eye from me and focussing them on the piece.

Aya Kato

Kata’s work is one of those things that is visually stunning. And I come back to her work as she visually inspires me. Inspiration in the details and small sections of her work

Beth Cavener

“HUSK”

Stoneware
Wooden box 34 in. h x 19 in. w x 13 in. d 2009

Beth Cavener paint job byAlessandro Gallo

“Sticher” “Come undone”

Animals as avatars in my work but I stylistically look for at pieces that have something else in them. Beth’s works as she puts it focuses on The sculptures I create focus on human psychology, stripped of context and rationalization, and articulated through animal and human forms. On the surface, these figures are simply feral and domestic individuals suspended in a moment of tension. Beneath the surface they embody the impacts of aggression, territorial desires, isolation, and pack mentality.

In a sense I try to embody either n animal physiology or vise versa act as a human in an animal skin. Which creates that tension and mismatch in the viewers eyes.

zim & zou

Merce Cunningham

Split Sides (Silas Riener solo)

The event is the moment that you are in, even though you are already in the middle of it experiencing its unfolding and folding around you. Intuitin “immediate awareness of the flow” (Deleuze and Guattari, 1987) you feel the rhythm unflored aoud you while ooking at the gesture of the dancers

Pina – Wim Wenders

https://vimeo.com/57798400

Sergei Polunin, “Take Me to Church” by Hozier

https://vimeo.com/118946875

Dance is maybe the easiest place to find physical representation of rhythm. However art is not simply about the representation and the rhythm doesn’t work that way either. Same movements may be applied to different type of beat and still work while the music has the same effect. That becomes like , as Deluez pointed out “The tom-tom is not 1 -2, the waltz is not 1, 2, 3, music is not binary or ternary, but rather forty-seven basic meter,” (Deleuze and Guattari, 1987) It is made out of durations. Duration is not linear, it is cyclical. The recurrence of the rhythm, repetition of the same fragment that make up that rhythm is what gives it that ability of losing oneself in time. As Rhythm is without “tense”, repetition links the past and the present, and repeats and improvises in that new space. As it is outside of time. This is how I apply rhythm to my performances. Sets of duration repeating them self in different variations

Les Néréides ads

Fever Ray

“Keep the streets empty for me”

“When I grow up”

Music videos do not simply act as inspiration for my work but are a way for me to get though the ideas and picking the right one for the pieces. Fever ray video are stand alone from the music but they work as one. The electronic sound combined with almost traditional and play like visual styles. Not simply rhythmical in the music sense but in the visual. A single still form the video is not only vibrating with motion and color but bring the sense of emotion in the viewer. Along that its done in such a simple way, it makes it work.

Paul McCarthy

Edward Hopper

Liam Gillick

if you look at it at first glance it is an abstract sculpture. It contains colours and lines but doesn’t seem to play any factual role. However, its almost reminds us of something familiar. They almost look like colourful furniture pieces. Maybe a bookshelf that is just missing books. That’s what a true gesture is; it is something that somehow in between, in the constant flux and having the potential to become something else. The repetition of the familiar curves are fragments that vibrate between. As if I saw thins colourful sculpture outside off the gallery space my first thought would be exactly that its first intention would be to store books. However even out of its indented environment it will not be completely perceived as ordinary furniture. There is something that makes it an artwork even if the viewer cannot place what makes it work. This is due to that familiarity that this artwork is unironic while gesturing to the conceptual idea of the work. The idea that you don’t need the language to get hath way to understand an artwork. It does the job for you.

This gesture of colour crate rhythm in the art work. As colours are placed next to each other

Gregory Crewdson

Creates world that are so fantastical but yet so real

this worlds even if they are photographic stills are not silent, they are vibrating with life this is what I would like my art work to be like vibrating with life even if I’m not performing in it at the moment

http://www.vam.ac.uk/users/node/6845

Sean Balko inpired by Gregory Crewdson