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Jess Johnson: Worlds Within Worlds Ocula Conversation Jess Johnson: Worlds Within Worlds

Geometric patterns, anthropomorphic characters, architectural spatial environments, and relics of the ancient world appear throughout Jess Johnson's artworks.Johnson's solo art-ventures began in drawing, but her long-term collaborative relationship with animator Simon Ward brings her drawings to life in videos and virtual reality. The animator has...

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Melati Suryodarmo: Performance Art as Trigger Ocula Conversation Melati Suryodarmo: Performance Art as Trigger

In 2012, Melati Suryodarmo opened Studio Plesungan in her native Surakarta, also known as Solo, the historic royal capital of the Mataram Empire of Java in Indonesia. Suryodarmo had returned to Indonesia from Germany, where she studied Butoh and choreography with Butoh dancer and choreographer Anzu Furukawa, time-based media with avantgarde...

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Lagos Biennial 2019: Stories from Africa’s most Populous City Ocula Report Lagos Biennial 2019: Stories from Africa’s most Populous City 15 Nov 2019 : Jareh Das for Ocula

Under the direction of Folakunle Oshun, the second edition of the Lagos Biennial (26 October–23 November 2019) includes works by over 40 Lagos-based and international artists, architects, and collectives. Curated by architect Tosin Oshinowo, curator and producer Oyindamola Fakeye, and assistant curator of photography at the Art Institute of...

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Hans Hartung and Art Informel: Exhibition Walkthrough Ocula Insight | Video
Sponsored Content | Mazzoleni Gallery
Hans Hartung and Art Informel: Exhibition Walkthrough 15 October 2019

Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...

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Ocula Insight

Bae Joon Sung at Opera Gallery, Hong Kong

9 November 2015
BAE JOON SUNG, Costume of the Painter - A. Tadema B.W, 2014. Lenticular, 180 x 120 cm. Image courtesy of Opera Gallery

'Costume of the Painter'

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’.


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. 


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