living room

Artist Ed Atkins-large wall art for living room

Large wall art for living room-Artist Ed Atkins’ solo exhibition “Us Dead Talk Love” is currently on display at London’s Chisenhale gallery.
The work of the same name on display is a two-channel high-definition image.
Art writer and independent curator Sophie Risner recently spoke to the artist via email.

Sophie Risner: Big Black and White Canvas Art I just found out that you participated in the Whitechapel gallery’s 2012-13 “Writer in Residence” project, which has
imperceptibly provided important meaning for me to understand your works, especially in the context of the exhibition “Us Dead Talk Love”.
I don’t want to complicate our communication too much at the beginning, Large Black and White Art but since this email interview will be placed in an art magazine that attracts the
attention of art critics, I still want to ask you a question — how important are words to your artistic practice?
(each year, the Whitechapel gallery invites a writer to plan a series of activities for it, to conceive writing as art, to conceive as the lens through which art can be experienced, and to provide a platform for experiment and
discussion.) Handmade Black White Geometric Art

Ed Atkins: words are decisive in my artistic practice.
Reading and writing — often a combination of both — and many of the structures and techniques used in photographic work are the shifting gestures of those words.
It seems to me that they all originated in literature.
It is also a way of resetting and combining — both technically and imaginatively.
To be honest, fluency in reading and writing is the most important — they are also often the means of thinking and improvising.
The gap between an idea and what it is written about is narrowing dramatically.
Or that the gap between thinking about something and being able to understand it is narrowing — which should be more interesting.
We are approaching a situation in which the two are almost entirely simultaneous.
The same is true for image construction.
For me, perhaps the main difference is that the written word can provide a way in which certain representational deadlocks are central and the image cannot.

Sophie Risner: how did you come up with this eyelash story?

Ed Atkins: I wanted to find a picture that would show my thoughts on a wide range of topics that were not fluid: death, sex, narcissism.
A man has found an eyelash that ACTS as a possible location for a parcel of exploratory metaphor and thought.
Such symbolism may seem particularly powerful, but in fact it is ambiguous and contradictory, and at the same time it is not abrupt enough.
It is not only stiff and direct in the mediocre sincerity,Great Big Canvas Art  but also full of the possibility of substituting behavior.

Sophie Risner: your work seems to be full of rich montage elements, and I’m particularly interested in the ideology of “eyes” and “eyelashes”.
Are they directly related to the work of George Bataille?

Ed Atkins: there’s no direct relationship, although I can’t ignore the slight similarities that might exist in the content.
Of course, I am his admirer.

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