Dear Helene,
Thank you for your persiflage on Hirst. My reservation about Renoir has something to do with the frienship albums we cherished as a girl. Did you have them in de US? Your friends wrote a 'poem' in it, and pasted a colorful image next to it. The images you could buy as sheets. They were very sweet and yes, pink.
You made me think about vector art once more. Since the Guyton exhibition I wonder if automated shapes (in that case, coming straight out of a printer) can express feelings. I find that, without the artist's personal brand of clumsiness, I can like or admire a work, but not love it. If lines and shapes are formula's, especially if you loose the free-form line, it seems to me that a lot of freedom of expression is lost. The eye recognizes automated shapes instantly. My brain associates them with emotional vacuum. After all, a human hand cannot make such shapes, and a machine has no feelings. So far, I've been using them sparingly, only for contrast. But then I saw your work, and later Amparo's, and I thought, yes, it is possible. I learn from you, and from Amparo, how vector shapes could be used. A wonderful surprise and inspiration.
Pauline
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| Helene Goldberg: Happy dance |
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| Amparo Higón: Squid |
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