tristesse engraved

june 2011 issue

contents****

page 3-16: graphics*

page 13-17: louise moillon*

page 18-33: mary delany*

page 34-40: Anna-Karin Brus*

page 41: Jan Davidsz de Heem*

page 42-43: Latidos - Irmãs Brontë*

page 44-55: helena rost*

page 56-63: sandra juto*

page 64-73: gracia haby & louise jennison*

page 74-77: alice beasley*

page 78-90: vanessa rossetto*

page 91-98: stig lindberg*

louise moillon (1610-1696)

earthly figures

mary delany (1700-1788)

paper-cuts

anna-karin brus

‘vanitas’

In the 17th century, Jan Davidsz de Heem painted a Still life that I like very much. (this painting can be seen on page 51, after Anna-Karin’s work)

The painting is now at the National museum in Stockholm and I look at it very often. The bouquet that it shows looks so real. It is really as if the artist had it before him as he painted. However, what I have been told is that that was not the case. Instead the painting is a compilation of sketches. One can

for example see flowers that do not bloom during the same season. Also, it is apparent that de Heem has used some of the flowers in several other paintings. The bouquet that he depicts, hence, has never really existed, rather it is a kind of collage.

My technique is close then to de Heem's, but in addition to painting I also use photographs from old books. There are several reasons why I do this instead of just painting my motifs. People tend to think of photographs as true depictions of reality. They do so even though they know that one has always been able to cheat with photographs. I want to connect to this realistic feeling by combining photographs with painting in my work. The photographs give the

pictures a touch of reality that a painter can never accomplish, while the painting brings the old school, lo-tech fun into it. Furthermore, by combining photographed and painted motifs in unexpected ways I hope to create a type of magical realism.

De Heem's picture is also filled with a number of symbolic references. Although today many of these have been forgotten, the flowers and animals still have a lot to say about life, love, loss and death. It is my own experience of this painting – its composition and meanings – that has been my point of departure

as I have filled this Vanitas-series with my own symbols and associations.

links:

http://akbrus.tumblr.com/#about

http://www.haka.nu/index.php/medlem/anna-karin-brus/cv

"Spread Them" 40 x30 cm collage/oil paint on MDF-board, 2008

"Butterflower II"40 x30 cm collage/oil paint on MDF-board, 2008

"Mams"40 x30 cm collage/oil paint on MDF-board, 2008

“cat and mouse”60x57 cm, collage/oil pant on MDF-board, 2009

“stolen kiss”70x 58 cm, collage/oil pant on MDF-board, 2010

“Motherhood” 70x60 cm, collage/oil pant on MDF-board, 2009

Jan Davidsz de Heem‘still life - flowers’ 17th century

Latidos - Irmãs Brontë

prólogo:Prism and light

Latidos gathers a selection of stories with a shared, uncommon ways of perceiving the world. Sometimes realistic and at other times delirious and poetic in tone, the authors

journey through (briefly and fable-like) the hidden spaces between science, religion, paganism, nature, history, mythology and aesthetics, in a voracious curiosity and

innocently available way of looking at the world. Crossing over borders shamelessly, they are drawing pathways as if to attempt to understand the world.

- Pedro Nora

The text above served as an introduction to the edition of Latidos published in Portugal in 2010. Each month a story from the collection, translated into english for the first time, will appear in tristesse engraved.

Correspondent

On a fresh morning she left, through the door towards the garden, taking a letter in one hand. For many years she wrote to many people whom received her admiration, but none

had responded so far. The garden embraced her in arches of green leaves. The roses kissed her opening up in shades of yellow, red and pink, forming multi coloured combinations.

Spring will start today and in her eyes, water, contained for so long at last fell. She opened the garden gate and left, nervous and hasty, to enter through next door’s gate. She

embraced and kissed Susan, her first correspondent.

helena rost / poussiere @ flickr

helena.rost@gmail.com

Summer in Berlin 2010.Camera: Nikon D60Lens: 50mm f/1.8

Summer in Berlin 2010.Camera: Nikon D60Lens: 50mm f/1.8

Summer in Berlin 2010.Camera: Nikon D60Lens: 50mm f/1.8

Camera: Konica PopFilm: easy pix ISO 200, 6 years expired

Camera: Konica PopFilm: easy pix ISO 200, 6 years expired

Camera: Konica PopFilm: easy pix ISO 200, 6 years expired

Camera: Konica PopFilm: easy pix ISO 200, 6 years expired

Camera: Konica PopFilm: easy pix ISO 200, 6 years expired

Camera: Lomo smena 8MFilm: fuji superia iso 400

Camera: Lomo smena 8MFilm: fuji superia iso 400

Camera: Yashica ez f521

sandra juto

illustrations and photographs

www.sandrajuto.com

gracia haby and louise jennison

Gracia Haby and Louise Jennison make artists’ books and limited edition prints, and all manner of things in between. Both besotted with paper for its adaptable, foldable, cut-able, concealable, revealing nature, they work mainly in

collaboration. In both their individual practice and their chiefly collaborative endeavours which see collage, pencil and watercolour brought to the fore, they are prone to fictionalising things to fit the desired narrative playing in collective mind’s eye. They call upon a wide range of literary and other sources, all the while seeking to explore, through said

inventive narrative, a heady combination of new and existing worlds; worlds where wild thoughts take physical form and imagination given free rein. Their artists’ books and like companions can be found in various private and public

collections.

www.gracialouise.com

gracialouise.typepad.com/high_up_in_the_trees

gracialouise.typepad.com/elsewhere

gracialouise.bigcartel.com

All memory of that day sparkled bright and unchangingGracia Haby and Louise Jennison

2009Lithographic offset print

All memory of that night shone before fadingGracia Haby and Louise Jennison

2009Lithographic offset print

A day unlike the previousGracia Haby and Louise Jennison

2009Digital collage

Something mighty peculiar was afoot but I was hard-pressed to say for certain what it was (I)Gracia Haby and Louise Jennison

2008Lithographic offset print

Something mighty peculiar was afoot but I was hard-pressed to say for certain what it was (II)Gracia Haby and Louise Jennison

2009Lithographic offset print

seated atop Kandinsky’s chair, the unexpected could be sighted with easeGracia Haby and Louise Jennison

2010Digital collage

Detail from the artists’ book Objects gathered with care from recent reads (I)Gracia Haby and Louise Jennison

2008

Detail from the artists’ book Objects gathered with care from recent reads (I)Gracia Haby and Louise Jennison

2008

Detail from the artists’ book Objects gathered with care from recent reads (IV)Gracia Haby and Louise Jennison

2008

alice beasley - rabbits, hares

www.alicebeasley.co.uk

vanessa rossetto

musicappreciationrecs.com

stig lindberg - fabrics

soon....japan issue

tristesse-engraved.blogspot.comengravedglass.blogspot.com

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published by engraved glass / jrf

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