Walter Phillips Gallery, Banff, May 15 – June 29

The interactive work exhibited in “Language Games,” curated by Sara Diamond and Catherine Crowston, embodies a peculiarly twentieth-century preoccupation with art and revolution playing themselves out in a realm of amusement commodities. As the curators point out, an understanding of the impact of electronic systems of communication and cybernetic devices on social formations is important to our understanding of the emerging world order. This postmodern hyperspace is the cultural echo of that logic of transnational networks and communication flows which characterizes the globalization and cybernation of accumulation. It is their screens, networks, simulations and cybernetic systems that produce Baudrillard’s sense of the technological sublime. By embracing these technologies and strategies, media artists are providing valuable insights into the forces which work to shape and control these new image and data flows.

Language mediates human experience by unifying those who speak it and by expressing the collective ethos of a given society. However, in this exhibition language is not simply a tool for expression; it is also a structure that defines the boundaries of communication and shapes the individuals who participate. Cultural differences are rapidly being undermined by the spread of McLuhan’s electronic “global village,” and by the successes of imperialistic capitalism, which is eroding local traditions and indigenous social groupings. Today, electronically-based language forms increasingly intervene in our lives in ways that resist linear or casual framing.

Electronic systems of communication are changing the fabric of advanced Western societies. New technologies are reaching into the core of the Western subject at the same time that we are witnessing its unraveling under the weight of multinational corporate capitalism. These evolving language forms are increasingly shaping our culture and the subjects within that culture. Global movements of deterritorialization, postcolonialism and technological determinism are creating all sorts of new subjects that cannot be articulated by current methods of psychoanalysis.

Today, it is possible to be in two places at one time; to be in two or more moments of historical space and time; to be in or out of one’s body; and to merge with a machine. The emerging subject is a diffuse, often plural one, capable of a completely different kind of existence. In our postmodern world the line between words and things, subject and object, inside and outside, humanity and nature, idea and matter becomes blurred and indistinct, and a new configuration of the relation of action and language is set in place.

The first piece seen when entering the gallery is National Heritage (1997), a photo-based installation by London artists Harwood and the collective Mongrel. National Heritage consists of four large, black-and-white photographs of a man’s head, and each photograph has a different coloured mask graphically sutured directly onto the face. The photos are accompanied by a framed text panel that discusses a Web site where self-identified racists are encouraged to deposit a digital sample of their skin colour. At the Web site the racist visitor is required to interact with anti-racist content. In considering the overtly racist content of National Heritage it is important to note the project’s relationship to cultural privilege (i.e., occupying space in a public art gallery) and notions of taste. Cultural domination is a by-product of taste which acts as a measure of distance between those of us who have it and those others who do not.

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Francoise Nielly studio

Does someone enjoy Francoise Nielly’s works of art? Are you looking to buy a portrait painting created by this artist? I am not sure if Francoise consider commission job? But if she do, i bet price would be very very expensive as the majority of her artworks are available $10,000 to $30,000. Therefore ,, pretty much, it is nearly unlikely to let Francoise Nielly create your portrait, though, guess what happens, our talented artists can! We could create your picture just like Francoise Nielly do!

Francoise Nielly is definitely an artist seen as an advanced and complicated ideas sharing wonderful and crucial energy and strength.

In Francoise Nielly’s work, she would not use any modern technology and uses only oil and palette knife. The colors are spread roughly on the canvas turn out to be an incredibly dynamic work. Her portraits encapsulate energy of coloring like a unusual method of viewing life. The notion and form are simply just beginning factors.

Francoise draws lines to discover elegance, passion, while focusing of memories. All portrait signifies a sense of delight and misery. When we finally uncover such type of sensual, significant and overwhelming drawing, we understand that special attention can drive severely inside a look, from a action, in position which identifies ones ways of being. The colors are exactly what makes Nielly’s paintings so true and natural and is particularly not possible not to love her ideas. A great number of could be the inspirations, which in turn dance in these kind of feeling, and many might be the meanings that happens to be portrayed. ?Have you ever questioned yourselves how vital it can be to experience colorings? If you’ve ever thought about how important it may be to tame these types of styles?

Francoise Nielly Gallery

Nielly shows you a protective study on the way to touching and ends up being an intuitive and wild target of expressions. If you close your eyes, you couldn’t imagine a face, containing colors, however if you consider it thoroughly, everything obtains a form by means of our dreams. The most distressed soul can result in colors, which happen to be unseen but always alive. Lots of individuals imagine that in a portrait, there’s always a concord that goes out, however in my opinion, every definition is printed out in their face. Eyes locate sins and passion, a grin reveals pleasure or a decisive lie, and dazzling colors reflect choices without way too much movement.

In the way, Francoise Nielly portray a person’s face in each of his paintings. And then she paints it again and again, with slashes of paint via their face. Memories of life that appear from her pieces of art are crafted with a clinch with the canvas. Colour is set in motion like a projectile.

Artworks by creator Franoise Nielly contain a real depth that emanate by each and every composition. Having improved palette knife portrait approaches, the artist utilizes thicker strokes of oil on canvas to blend a certain abstraction in to these figurative paintings. The paintings, which are usually based away relatively easy black and white photos, feature intensive light, shadow, depth, and dynamic neon colors. As stated by her biography on Behance, Nielly takes a risk: her art is sexual, her colorings free, contemporary, stunning, sometimes powerful, the cut of her knife incisive, her color pallete impressive.