Gregoire Alexandre – [←] Fer 1 (2012); [→] Fer 2 (2012)

You attend to the shape, sometimes by tracing it, sometimes by screwing up your eyes so as not to see the colour clearly, and in many other ways. I want to say: This is the sort of thing that happens while one ‘directs one’s attention to this or that’. But it isn’t these things by themselves that make us say someone is attending to the shape, the colour, and so on. Just as a move in chess doesn’t consist simply in moving a piece in such-and-such a way on the board-nor yet in one’s thoughts and feelings as one makes the move: but in the circumstances that we call “playing a game of chess”, “solving a ches problem”, and so on.

                –Ludwig Wittgenstein, Philosophical Investigations §33

We don’t know what’s
going on here. If these tremendous events are random combinations of
matter run amok, the yield of millions of monkeys at millions of
typewriters, then what is it in us, hammered out of those same
typewriters, that they ignite? We don’t know. Our life is a faint
tracing on the surface of mystery, like the idle, curved tunnels of leaf
miners on the face of a leaf. We must somehow take a wider view, look
at the whole landscape, really see it, and describe what’s going on
here. Then we can at least wail the right question into the swaddling
band of darkness, or, if it comes to that, choir the proper praise.
                  

                —Annie Dillard, Pilgrim at Tinker Creek

Édouard Chimot – Untitled (1930)

This is clearly a sketch. By that I mean the figures are posed for the artist to render them. Yet here, how they are rendered is interesting. The presumable draped dais upon which they are standing is rendered in the drawing in sculptural fashion–the base requiring strategic load bearing functionality to support the figures rising from it. (It bears mentioning that the shading to suggest depth is masterful and I love the simple line and asymmetrical form of the standing woman’s breasts–an incisive application of the classical contrapposto posture to a female figure.)

And although the poses are hardly exact matches, the tone does remind me very much of Gustav Vigeland’s Kneeling Man Embracing a Standing Woman.

Also, I really like the cartoon face in the margin that appears like what I’d imagine the main character would be in a Jean Vigo directed anime.

Alejandro Maestre GasteaziEL HOMBRE QUE SE CREA (2010)

Julián is a good friend who I deeply respect; he is a multidisciplinary artist and complete artist. He is, at the same time, [a] film director, sculptor, painter, photographer and writer. [A while ago] he suggested… the idea of doing a portrait of him that could describe his capacity of creating and his constant research to understand his body and spirit. All these [considerations] made me think about his work and helped me develop the [concept for this project].

Therefore, with this photograph[ic] series I intend to show an artist fighting to get to know and shape himself [become] a better human being.