Benjamin Rubloff : When I was there
Book Details
Format
Hardback or Cased Book
ISBN-10
3987411449
ISBN-13
9783987411441
Publisher
DruckVerlag Kettler
Imprint
DruckVerlag Kettler
Country of Manufacture
DE
Country of Publication
GB
Publication Date
Oct 8th, 2024
Print length
116 Pages
Weight
606 grams
Dimensions
25.00 x 18.80 x 1.50 cms
Product Classification:
Art treatments & subjects
Ksh 7,550.00
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Benjamin Rubloff's paintings in this book are all based on fragments of found graffiti. For many years, Benjamin Rubloff photographed tags and graffiti as he walked around the city, turning the marks into oil paintings.
Benjamin Rubloff''s paintings in this book are all based on fragments of found graffiti. For many years, Benjamin Rubloff photographed tags and graffiti as he walked around the city, turning the marks into oil paintings.
Benjamin Rubloff''s paintings in this book are all based on fragments of found graffiti. For many years, the artist photographed tags as he walked around the city, mainly because he was interested in their painterly qualities: the speed of a gesture, the way they sit on a wall, their random drips and splashes. As an experiment, he began copying these marks into oil paintings, altering the scale and framing, but otherwise aiming for an exact transcription of the original tag. His intention was to create abstract paintings that would not bear the qualities of his own hand. Instead, they would be records of the traces of others.
When he retraced his steps — sometimes years later — to find the original tags, Rubloff often found them gone. Sometimes the sites themselves had been radically altered. He began to write about these places in conjunction with the paintings, exploring the intersection of their histories with his own. As a result, each painting in the book is accompanied by a text and a photograph of the site, intended to provide an anchor back to the city itself.
Benjamin Rubloff''s paintings in this book are all based on fragments of found graffiti. For many years, the artist photographed tags as he walked around the city, mainly because he was interested in their painterly qualities: the speed of a gesture, the way they sit on a wall, their random drips and splashes. As an experiment, he began copying these marks into oil paintings, altering the scale and framing, but otherwise aiming for an exact transcription of the original tag. His intention was to create abstract paintings that would not bear the qualities of his own hand. Instead, they would be records of the traces of others.
When he retraced his steps — sometimes years later — to find the original tags, Rubloff often found them gone. Sometimes the sites themselves had been radically altered. He began to write about these places in conjunction with the paintings, exploring the intersection of their histories with his own. As a result, each painting in the book is accompanied by a text and a photograph of the site, intended to provide an anchor back to the city itself.
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