Ocula MagazineContentsView All
Featured ContentView All
Taloi Havini: Reclaiming Space and History Ocula Conversation
In Partnership with Artspace Sydney
Taloi Havini: Reclaiming Space and History By Ruth McDougall, Sydney

Artist Taloi Havini and Ruth McDougall, curator of Pacific art at Queensland Art Gallery and Gallery of Modern Art, discuss Havini's first Australian solo exhibition, Reclamation .

Fade out copy.
Read More
Sydney Biennale Connects Here with Everywhere Latest Ocula Report Sydney Biennale Connects Here with Everywhere By Soo-Min Shim, Sydney

'This year's Biennale of Sydney seems like a corrective,' writes Soo-Min Shim, 'prioritising autonomy in an international exhibition format that has all too often omitted or sidelined First Nations artists.'

Fade out copy.
Read More
Hell is a Place on Earth: P·P·O·W Looks to History in Context of Covid-19 Ocula Insight Hell is a Place on Earth: P·P·O·W Looks to History in Context of Covid-19 By Stephanie Bailey, London

In the United States, parallels have been drawn between the HIV/AIDS crisis and what is unfolding with Covid-19. These connections feed into P·P·O·W's online exhibition, Hell is a Place on Earth. Heaven is a Place in Your Head .

Fade out copy.
Read More
HomePage

'Costume of the Painter'

BAE JOON SUNG, Costume of the Painter - A. Tadema B.W, 2014. Lenticular, 180 x 120 cm. Image courtesy of Opera Gallery

The titles of my paintings always begin with the Costume of the Painter. The term refers to the ‘costumes’, or illusions, that are painted by the artist, and at the same time, signifies an original vision derived through the eyes of the artist. I have always believed that when an artist paints, his or her eyes caressing over a model, a study, what is perceived through their eyes gives birth to another model in the painting. This painted model, hovering somewhere in the artist’s consciousness, demands in turn that the artist paints again.

This demand springs from the physical and mental state of the artist at the time of painting. Ultimately, the term: Costume of the Painter implies not the costume painted by the artist, but what suddenly happens to the artist while painting the costume.

Moving still life

A painting is inanimate. It stands face to face with animate objects - the viewer, for instance. The attraction of a still life lies not in its quiet, placid nature, but rather in the dynamic energy contained therein. When a painter moves these inanimate objects within a painting, it is still, in consequence, a ‘still life’.

Lenticular

When I was young, my plastic writing sheets meant a lot to me. As a class secretary throughout the six years of my elementary school, and as a kid whose forte was writing, the plastic sheets were something of importance to me that was beyond what other kids could only imagine. So I always had a few of them with me. Despite my competitive streak, I never even once took part in the ‘plastic sheet breaking’ contest that was all the rage at the time; instead, I treasured and took pride in keeping them. Of my precious sheets, the most profound was this kind of ‘transforming plastic sheet’, it had a yellow smiley face flaunting itself right in the center - smiling from one angle, but crying in the next.

That was my first encounter with lenticular in my childhood. 

Sign up to be notified when new articles like this one are published in Ocula Magazine.

WeChat

Scan the QR Code via WeChat to follow Ocula's official account.

Scan to follow Ocula on WeChat.
iCal GoogleYahooOutlook