Violin and Playing Cards on a Table - Juan Gris, 1913

Oil on canvas, 39 1/2 × 25 3/4 in. (100.3 × 65.4 cm)

Gris composed this work during a three-month trip in 1913 to the small village of Céret in the Pyrenees. While this painting is not signed or dated, its colorful Cubist style of broad, angular, overlapping planes indicates that it belongs to a group of still lifes produced at this time. Here, Gris has painted a wood-grain table with three playing cards—heart, diamond, and club—a violin, and a copy of the newspaper Le Journal. The rust-red diamond pattern in the background emulates wallpaper and provides the fragmented image with the suggestion of depth.


Don’t Text and Drive from Sehsucht on Vimeo.

Biking is not a picknick if you‘re sharing the road with a distracted driver. Sehsucht‘s
animation shows the dangers of texting while driving. Messaging on his phone, our car
driver doesn‘t pay attention to the traffic lights and oversees a pedestrian at a crossing.
Distracted by the messages, he drives incautiously and runs into a young woman riding
her bike. He calls an ambulance to take care of her injuries. In a parallel world in which the
car driver does not text and drive he travels safely around the world. Our message is clear:
Save a Life. Don‘t Text and Drive!

The 3D animation is set in a very graphical, cubistic world. The style is defined through
geometric shapes and a warm colour palette.

C r e d i t s
Production: Sehsucht Berlin GmbH & Co KG, Berlin/Germany
Direction: Mate Steinforth
Lead Artist: Helge Kiehl
2D/3D Artists: Helen Hyung Choi, Dominic Eise, Remo Gambacciani, Mette Ilene Holmriis,
Alexander Walker, David Weidemann, Christian Zschunke
Styleframes: Mate Steinforth, Ronny Schmidt
Producers: Lars Wagner, Christina Geller
Music: Von Sallwitz Sound Architecture

S o f t w a r e
Cinema 4D, After Effects

As my work is about real life events, I don’t necessarily have to just design for incidents that have happened in the world. I could design for overheard squabbles, or memories of arguments. The minimalist/cubist style could be used to symbolise the memory, and how we only remember certain facts, and the rest is a little distorted.

I could use Conspiracy Theories, what we don’t know, or what we think we don’t know. Who really rules the world, and what are they not telling us. 

I have 8 weeks. Theres no saying I can’t explore all of these ideas. 

Task 1: Part 3 (Art Essay) - Cubism

Cubism dates back to the early twentieth century. It started at a time when artists felt like the illusion of space and mass was becoming less and less important. Cubism came about as a revitalisation of Western Art therefore it being a huge influence to the style. Cubists challenged traditional art with its use of the main subject being reduced and fractured into geometric forms, the work having a relief like space, the rejection of the art copying nature and not adopting the traditional techniques of perspective. The style concentrates on form even though the main subject of matter could sometimes hardly be recognizable, different viewpoints, overlapping planes and invokes the viewers to be actively involved.  Usually only a narrow range of colours are used.

Pablo Picasso and George Braque were the main influences to the creation of this style.  Some of Picasso’s work was influenced by African masks as they had expressive style and his work was usually distorted and stylized. Braque usually painted landscapes which displayed geometric forms, the term Cubism came from critic on his work. The two artists frequently worked with each other especially during 1910-12. Their work usually consisted of different hues of browns, blacks and grey. Their main motifs for their work were still lifes with musical instruments, bottles, pitchers, glasses, newspapers, playing cards, and the human face and figure. They rarely did Landscapes. In time new techniques came about  which was  the use of paper collage which involved pasting pieces of coloured paper or pieces of printed paper onto their compositions and including lettering to their work.

George Braque and Pablo Picasso. [image online] Available at:  [Accessed 03 Jan 2015].

Cubism influenced many future Cubist artists including Marcel Duchamp, twentieth-century sculpture and architecture, literature and future art styles that included Dada, Surrealism, Orphism, Abstract Art, Purism, Futurism, Suprematism, Constructivism and De Stijl. 

Marcel  Duchamp, 1911-12. Sad Young Man on a Train. [image online] Available at: [Accessed 03 Jan 2015].

In my work I was inspired by Cubism. This is shown through the use of a narrow range of colours, in which I also created balance as I used both warm and cold hues. The colours also define the form of the shape which gives the viewer more recognition of what the object could be through the outline. The lines in the shape are defined by the unblended colours. The shapes in the object are geometrical and don’t copy the ways of the natural way these objects are usually seen but go against that vision. The object is rocks balanced on each other, vaguely one can see them but their quite unrecognizable which is a norm in cubist work.


The Metropolitan Museum of Art. Cubism. [online] Available at: [Accessed 03 Jan 2015].

Arty Factory. Cubism. [online] Available at:  [Accessed 03 Jan 2015].



Looks like I blinked and 2nd quarter flew by without me posting each week — whoops! So, I’ll try to catch up now with a bunch of posts on Last Quarter in Art. These are some self-portraits that my 3rd and 4th grade artists created in Picasso’s Cubist style of painting subjects from multiple angles at once. Students added symbols and words about themselves and their interests, and used a crayon/watercolor resist technique.

Photo Credit: Kim Dong-Kyu & Picasso

"A Modern Cultural Episteme"
I find that the modern take on Picasso’s “Seated Woman” interestingly relevant to todays age of social media projection and consumption. We are driven by a desire to highlight who we are as people to outsiders looking in, most times showing only what we want people to see. What I like particularly about this picture is the cubist style, which shows the dimensions and angles of Marie-Therese.  This, I interpret to be a comment on the two dimensional plane which society has put more emphasis on even if it is a skewed, limited and biased perception. This photo also adds to the idea that a selfie is by in large, a rather egocentric offering to the public where an individual or group is presenting themselves to the world in a position that necessitates prominent exposure. I believe using a famous painting to articulate this message is a observation of our own need to be viewed and esteemed and this is a suggestive idea of the social appetite to satiate hierarchical importance. It also emphasizes how humans generally want our own existence to have meaning and profoundness. 


To-scale layouts.

The biggest images are A5; the middle-sized ones A6; and the smallest ones A7.

The layout follows a sort-of cubist style - the photographs taken upstairs in the house are near the top and the images taken downstairs near the bottom. This is not obvious however, if you knew the house and how it was laid out it would be, but for people who don’t (so most of the viewers) the layouts seems random - there isn’t really anything linking any of the interior photos to each other. Obviously the exterior photographs show the same building, but they also show it at different time periods and it is not obvious which came first, or what order they should go in.

"Born Emmanuel Rudnitzky, visionary artist Man Ray was the son of Jewish immigrants from Russia. His father worked as a tailor. The family moved to Brooklyn when Ray was a young child. From an early year, Ray showed great artistic ability. After finishing high school in 1908, he followed his passion for art; he studied drawing with Robert Henri at the Ferrer Center, and frequented Alfred Stieglitz’s gallery 291. It later became apparent that Ray had been influenced by Stieglitz’s photographs. He utilized a similar style, snapping images that provided an unvarnished look at the subject.

Ray also found inspiration at the Armory Show of 1913, which featured the works of Pablo Picasso, Wassily Kandinsky and Marcel Duchamp. That same year, he moved to a burgeoning art colony in Ridgefield, New Jersey. His work was also evolving. After experimenting with a Cubist style of painting, he moved toward abstraction.

In 1914, Ray married Belgian poet Adon Lacroix, but their union fell apart after a few years. He made a more lasting friendship around this time, becoming close to fellow artist Marcel Duchamp.”

I love Man Ray’s work, he does a lot: photography, painting, filmmaking. My favourite photograph by Man Ray has to be Glass Tears 1930 -1932, just because it’s so elegant, simple, beautiful, emotional, inspiring and timeless. I love his fashion work as well as his portraiture and he has been very inspirational in my own photographic journey.