betty sue rd ! silvia bakker ! bisser ! elise boularan
ONE THING THAT SUCCESS HAS TAUGHT ME IS CENSORSHIP tracey emin
D!ng is an online art magazine by Jolien Dirix
betty sue RD.
betty sue RD. My name is Betty-Sue RD. It’s pretty hard to define my work. It’s a kind of diary, an outlet for my emotions. But that’s about the past. A few years ago I wanted to illustrate heavy emotions, but now I’m older and I enjoy to look around and discover the world that surrounds me. I’m more curious now. I learned to see myself and my work with more sophisticated eyes. On this very moment, I’m more the kind of person who will look around and searching for what I want to show, instead of a few years ago. In those days I wanted to shock people, let the people feel my pain, evoke some reactions. Nowadays I’m getting more introverted and a subtle image can seduce me more and more. I’m still looking which way I want to go, and even I took a long break, I’m ready, more than ever, to hit the road and going further with my search/quest
my work is like a diary.
â€œmy pictures are an outlet for my emotionsâ€?
In my previously work I wanted to shock people let the people feel my pain
Nowadays Iâ€™m getting more introverted and a subtle image
e can seduce me more and more.
â€œU bent altijd welkom voor een gesprek over kunst.â€?
ker w w w. s i l v i a b a k ke r. c o m Every work starts from an Through my work I try interest in the actions of man. to create several options Iâ€˜m fascinated by how we see for our reality, by telling reality trough the different stories from my perspective. interpretation of it. By doing this,my I start collecting my equip- own preconceived opinions ment to observe and analyze our always get involved in the daily reality. In conversations work, and function as a rewith the other, I find my own flection point. beliefs and I look for distinctive events. Occurrences, which illustrate belief, convictions and confidence. These aspects I use as a starting point for my visual work. From there I decide what the appropriate medium is, this can be a video installation, a public intervention or a performance.
Ons toneel van de laatste dagen With numbers, letters and icons we can point out the exact location of the last days of mankind. Simply calculating. A city in Israel, on a small hill. Busses full of Tourists visit the city, every single day. The city where over seven billion people have to collect in the end of days.
DECOR # 1 2013 black and white print 70x100 cm
HD video, 5 min 26 Dutch with English subtitles.
notities op het alledaagse leven
Mr. Jan has got a moustache and wears a hat, thatâ€™s abou everything I know of him. Every Saturday, for the last tw years he brings me flowers, religious icons or a bottle o Cava.
ut wo of
bisser I work under the pseudonym Bisser.
In my first year of animation I did not pass my final jury. So in Dutch this means that I’m a bisser On the day of the jury, I had made two drawings and I see these drawings as a start of my particular style.
my world My drawing world is characterized by the paradox of a drawing only a few lines versus many lines dissolving into figures. Between those two stages my figures come to life.
I find myself talking about style quite a lot. Almost everyone constantly says "you have your own style", and this is normal because my work is very specific and immediately recognizable. So you can say it is a style, but it is so much more than just a style. I see it as a real world that I’m building. While I’m drawing every detail gets a form. I’m creating an atmosphere in the world that I’m building.
The world I’m cre based on two concepts, context. I start with because it comes first, sonally I think it is portant than the cont this form I use differe and techniques, I stud tion, but I’m also ex ing with graffiti / str etchings, sculptural wo vases and other media.
eating is form and the form , and permore imtext. For ent media dy animaxpermentreet art, ork, can-
I see it as a real world Iâ€™m building
The fulfillment of the drawing lines, which are usually faces or figures, is actually opposed to the tightness and simplicity of it. The figure becomes over developed. For me this act demands a lot of patience. This combined with the repetion and sometimes the scale it mostly is a kind of meditation. There are people who say it is â€˜crazy workâ€™ but for me it is more like occupational therapy.
immediacy gives me extra concentration
THE FIRST LINES ARE DRAWN directly WITH A PEN pen so there is no way back
Pictures full of ellipses and silences, dislocating to the enigma. Using tirelessly ambiguity, telling us the privacy. The debris of your memory are picked to be thrown light. Then, the story can be told, true or false ... whatever. A memory showing an intimate sphere where human disorders reign; inner fits can be told. My concerns are brought to the human reality of your time. Tirelessly trying to translate the human's secrets, I reveal what can be private for someone. My concerns are about the limits of our body, what recovers from the unspeakable, from the non-formulated. The questions of these works are multiple and point the fragility of the life; this thread which escapes us. These representations are loaded with references to the disorders, to the intimate regressions and contemporary fears.
in my work you can discover photographs impregnated with ambiguity. Preferring a picture to decrypt than a picture given which is already here, a resistant picture in a way.
Through my work we can discover photographs impregnated with ambiguity. Preferring a picture to decrypt than a picture given which is already here, a resistant picture in a way. We can see a research of ambiguity in the pervasiveness of the bodies and in their weakness. Trying another narrative form, like these silent bodies which do not reveal everything. A narrative form that cannot be put in a time space or in a traditionnal space. It means, taking photographs without giving them a definitive meaning, to be facing a silent privacy. How to make visible throught the photography what is hidden, how to highlight this invisible and dumb gesture? This reflection is always corresponding with my photographic work.
MY images have in common the evocation below and beyond the assertion the suspension of action of the expression
We are talking now about a kind of parallel reality, an interstitial territory which ignores geographic spaces and political systems, which belongs neither to a reality quite true nor a fiction consciously developed, but is rather enriched by its own rituals and rules of conduct where the distinction between good and evil, hapiness and sadness, innocence and perversity, reality and fantasy, fade.
These images have in common the evocation below and beyond the assertion, the suspension of action of the expression. This work does not flee the world, but intends to build an interpretation, where something dumb and indefinable is really present. The characters here are not in action, they are like bodies vaguely absent themselves. Portraits where opacity and strangeness resist. Everything happen as their assignment (referential, spatial and temporal) was stopped for a while, as isolated from the world of appearences.
So we find these photographs the utopia of a suspended time and the cruelty of a relapse sensed. The photography is, it is known, the special instrument of this temporal ambiguity.
I use ambu
I seek to have, thoughout my app Wandering, or, we could say, an intense and slow aspiration led me to these places dilapidated, full of history. These places are like equivalents of the body. Most are representations of a melancholy state of mind rather than portraits of specific places.
ulation as a creative process.
proach, a perceptual and poetic attitude faced with reality. These places are used somewhat as the timeless backdrop of intimate dramas, which are transformed to a garden that retains traces of a small personal stories. These images attempt to echo the reality of our time with a melancholy tone surely as a consequence of social evolution, basically characterized by the loss of community.
d i n g m a g a z i n e . c o m
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D!NG is an online art magazine by Jolien Dirix D!NG #4 with Betty-Sue RD ! Silvie Bakker ! Bisser ! Elise Boularan