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陈列您的艺术作品给每天无数的访客观看
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| Roy Amiss | |
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Born 1958, London. Roy Amiss is a painter, inventor, designer, writer, musician and songwriter. Inspired by surrealism, philosophy, science, logic, and postmodernism. Studied biological sciences and painting. |
| 关于此艺术家 | |
During my recent residency at the Schröder Art Foundation in The Hague, Holland, I was able to freely explore and develop my work in a number of different directions creating unique works, most notably in the latter years: |
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Boundless Interiors
1994 |
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| Boundless Interiors
1994
155 cm x 106 cm
Oil & phototransfers on canvas
In traditional illusionistic painting, an illusionistic object is painted. In these paintings, the mind is fooled by mistaking the photo for the painting, which results from painting not the object, but the objects context – the imitation of the colours and tones of the boundaries of the photographs and extending them out of the object into the surrounding space – this becomes the new context in which the object is perceived. As the colour and tone of the photograph have been matched with paint, the painting and photograph cannot be distinguished , they blend imperceptibly into each other. Thus the status of the painting and photograph become ambiguous. Is it a painting or a photograph? By removing photographs from magazines etc., we at once abstract them. Furthermore, by combining these fragments with paint in the way I have described above, they become further abstracted, forming a pattern which I call the tapestry of vision. But this pattern can be unravelled to reveal either the ‘abstract’ – when viewed from a distance; or the ‘real’ – when viewed close. These paintings dissolve these categories and yet uphold them. A double-aspect phenomenon is created, whereby we can switch and focus on either the detail of the photograph, or the same detail including its newly painted context, thus generating a new kind of object!. |
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Disjunctive David Bowie Clones
1999 |
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| Part of an optical series of works that I started around 1998. These works are painted on net screens one in front of the other and each one is painted a different colour. The paint on each screen is balanced for tone. The result is an optical sensation which resembles a holograph, and so I call these hand-painted holographs. An additional aspect to this painting is the horizonatal bands I painted across the 2 images. This idea came from a series of experimental collages I produced entitled: The Science of Expressionism. In this series I was experimenting with how different patterns superimposed on faces would change the emotional expression of the face. In this case, there is a slight disjunction between the 2 images of Bowie, This slight difference (one is highter that the other), results in a change of expression between the 2 faces (which are identical) due to the shift in relation to the fixed reference frame of the horizontal bands. I should also add that I have also been a big fan of Bowie. |
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Muybridge to Infinity
2005 |
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Natural Selection
1995 |
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| These red chalk paintings were derived from a randomly stained canvas and developed using acrylic paint. With these paintings I had no idea what I would paint beforehand! The stratagy employed was similar to the paranoiac critical method of Dali, the frottage of Max Ernst, and Leonardo da Vinci who recommended throwing a wet sponge at the wall which would leave a pattern that stiimulated the visual imagination such that the mind is able to conceive all kind of images, images that in the minds of the surrealists were retrieved from the unconscious.
The images I derived from this process, evolved a narrative. The forms suggest ideas and there reaches a point where I discover the story. Then I use a single photo-transfer to symbolise the story – a final stamp of completion of the work. These photo-images are usually philosophers and scientists. This is like illustration but it is not illustration – for with illustration you have an idea beforehand and set about illustrating it. But in this case, the illustration comes after the event. The themes typically are scientific and philosophical, which is an expression of my interest in philosophy and science.
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Storm in a Teacup
2006 |
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| An important aim of my work has been to try to bring about a sense of revelation from the most mundane of sources, and re-invoke the majesty, wonder, mystery and objectness, of our surrounding familiar world of prosaic objects. Here a cup and saucer are depicted, but reproduced via horizontal bands of alternating complementary colours. Mathematics has been employed in arranging these bands in a geometric series approaching infinity. This point lies in the central area of the cup, hence the title: Storm in a Teacup. Thus idea of the infinite, is aligned to the locality of the teacup, something not very big, and yet paradoxically, infinity is never-ending, and huge! Thus the teacup is magically transformed by the power of art. |
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Spinozean Singularity
1994 |
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| This work was part of the series 'Tapestry of Vision' referred to above, whereby the edges of photographs are dissolved by using oil paint, thus creating a new object. In this case, images of Gods taken from all different cultures, have become interlinked into one new universal object. This reflects the pantheist conception of the philosopher Spinoza, who identified God with Nature or the Universe. The term Singularity, I borrowed from theoretical physicist Stephen Hawking, who originated the concept of the Singularity, marking the beginning of the universe - the start of the Big Bang, and the origin of space and time itself. |
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The man with no name
2005 |
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| Optical painting on canvas, based on a photograph of the Clint Eastwood character 'the man with no name' in Sergio Leoni's spaghetti western. This was part of a series of celebrity paintings I undertook on returning to the UK from Holland in 2000, and shocked by how much the UK had been gripped by celebrity culture. Not that the beauty of celebrity is without interest. I thought it thrilling to combine the facile surface of such Hollywood images with intellectual abstractions of mathematics enshrined in optical art, creating a hybrid of hi-art and low-art. This raises questions over our ambivalent feelings over these categories and our relation to them. Here the intellectual content is not symbolised, but is embodied in its means of construction. Thus there is a hidden narrative that lies below the surface as well as one generated by the surface.
Bathed in the noonday sun, Clint is suffused by its rays, and the horizon is echoed by multiple bands of alternating red and green that span the canvas. Clint exists like a mirage, reappearing as an ice cool monochrome illusion in shades of grey! You can feel the heat of this canvas, and this heat paradoxically freezes the heat and obliterates the colour. Thus is the power of balanced complementary colours and mathematics!
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Isaac Newton Grown in a Petri Dish
1997 |
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| The world's first living bacterial photograph grown in a petri dish using aqueous media, was by UK artist. Roy Amiss on the 18th October, 1997, who grew a portrait of Isaac Newton in a petri dish filled with an aqueous bacteria culture containing nutrient media. The bacteria belong to the class of purple bacteria - photosynthetic bacteria that use light to generate energy. The images produced, were very fine and delicate: a thin ghostlike semi-transparent pigmented bio-film coating the bottom of the petri dish. A high- resoultuion image was produced, owing to the smallness of the bacteria. |
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| 教育程度与个人自传 | |
| 1987 - 91 Cheltenham and Gloucestershire College of Higher Education, BA (Hon) 2.1 Fine Art. Thesis: Postmodernism and its relation to the philosophical problem of mind and body. 1986 - 87 Thurrock Technical College, Thurrock. Certificate of Foundation Studies in Art and Design. 1979-82 TEC Sciences - Applied Biology, Barking College of Technology. Exhibitions 1990 -Young Unknowns Gallery, London. -Christi’s Contemporary View, The Royal College of Art, London. 1991 -Department of Education and Science, Open Submission Purchase. -Degree Show, Cheltenham School of Art, London. -Fresh Art Fair, Islington, London. -Prospects 91, Gallery Six, Broseley. -Summer Residency, Schroderhuis, Stichting Via In Artes, Valkenswaard. 1992 -Solo Exhibition, Schroderhuis, Valkenswaard. -Credit Lyonnais Bank, Eindhoven. -‘New Gallery Artists’, East West Gallery, London. -‘Art For Youth’, Morganton Community House, North Carolina, USA. 1993 -’40 x 40 x 40’, Schroder Galerie/Ateliers, The Hague. -Bonhams ‘Artists of Promise’ Exhibition & Auction, London. 1994 -‘Postmodernism, Surrealism, Classicism’, Solo exhibition, Schroder. Galerie/Ateliers, The Hague. - ‘Art & Image’, The Hague, Schroder Galerie/Ateliers, The Hague. 1995 -Kunstgreep Open Ateliers, The Hague. 1996 -Drawing & Prints, Schroder Galerie/Ateliers,The Hague. -‘Surrealismus’Hendrik Beekman Kabinet, Marrum, Friesland. -KunstRai Art Fair, Amsterdam, Schroder Galerie. -‘Kunstmerkkunstwerk’, Beurs van Berlage, Amsterdam. 1997 -KunstRai, Amsterdam, Schroder Galerie. -‘Past in the Present’, Solo Exhibition, Schroder Galerie. -La Pommerie, solo exhibition and residency, San Setiers, France. 1998 -Multimedia Group Exhibition, Arti et Industiae, The Hague. -The World in 3-D, group exhibition, Schryption Museum, Tilburg 1999 -The Portrait, group exhibition; Kurhaus Galerie, teigenberger,Kurhaus Hotel, Scheveningen, The Hague. -Contemporary Art Twente, Art Fair, Schroder Galerie, Hengelo. 2000 -Open Studios, Space Studios (Bridget Riley), London. -Kunstrai Art Fair, Schroder Gallery, Amsterdam. 2001 - Multi-manipulation Group Show, Kunstrai Art Fair, Schroder Gallery Amsterdam. -Open Studios, Space Studios (Bridget Riley), London. 2002 -Domestically Spaced, Group Show, Space Station 65, London. -Kunstrai Art Fair, Schroder Gallery, Amsterdam. 2003 -ModaOutsized, Group show, Museum of Domestic Design and Architecture, Middlesex University, London. Commissions 1990 Beckford Silks, Surrealistic/Classical Interior Design, Beckford, England. 1996 ‘Tower of Babel’, Installation, KunstRai Amsterdam Art Fair, Schroder Galerie. Hotel Design, Keja Donia Design Agency, exhibited at Beurs van Berlage, Amsterdam. Publications *Postmodernism, Surrealism and Classicism; essay for exhibition catalogue pub.Schroder Foundation; 1994. *Tapestry of Vision; essay for exhibition catalogue; pub.Schroder Foundation;1994. *Past in the Present; essay for exhibition catalogue; pub.Schroder Foundation; 1997. *Multi-manipulation; essay for group exhibition catalogue; pub.Schroder Foundation; 2001. |
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