# data[].attributes.body
Venice was a wonderful experience for me, I've wanted to travel to Venice since I was a a kid. it was the best time I've had in a long while- I felt alive again and being surrounded by the loveliest people while being able to explore one of my fav cities was beautiful and really helped heal my soul, i got to share so many precious moments with my friends and it helped me figure my work out a little more. i got tonnes of inspiration from the different art galleries we went too, the people we met, how life works there. its so fascinating to me how beautiful yet simple life is for people everyday around the world- yet how much pain and deepness the world also holds is crazy. i like to think my time in Venice truly opened my eyes, helped me realise we don't just live in this little box, possibilities are endless, and for that I'm forever grateful

# data[].attributes.body
Being with some friends who did photography was really a lovely experience to see how our brains work/ how we experience creating art just slightly different based on our medium and how “arty” we might see things. I would never have thought to stop, do a black flip and have someone take lots of photos of it - no doubt with some fancy camera settings to do with exposure etc

# data[].attributes.body
I just have to bless padlet with this photo from the first night

# data[].attributes.body
Voyeuristic art explores the thrill and controversial behavior behind watching others engage in private, intimate acts. Being a part of something that is taboo is what makes the concept of voyeurism captivating to both artists and photographers, who constantly seek to push creative boundaries.

The Art of Voyeurism examines and questions our acceptance of the many facets of art. It examines how the artists' own desires have been morphed into contemporary society through their many varied representations and executions, and how they have found ways of manipulating our sense of seeing in history textbooks.

my thoughts:

when I've tried to research this type of art- a lot is sexual and seems to be heavy on viewing things that are intimate and shouldn't be shared. I feel this somewhat links with my work in the sense that I enjoy exploring things that are uncomfortable. that maybe would be seen as shameful or something that could be deemed a little embarrassing or something your pride/ego would not like to admit.
however, instead of this being something that fuels sexual desires it fuels my passion to create. to break out of the box that society thinks we shouldn't connect to.

# data[].attributes.attachment_link.readable_text
Voyeuristic art explores the thrill and controversial behavior behind watching others engage in private, intimate acts. Being a part of something that is taboo is what makes the concept of voyeurism captivating to both artists and photographers, who constantly seek to push creative boundaries.

Whether it's seductive bedroom ads or candid photo series, voyeuristic art plays upon the idea of being watched by an unseen audience. Scenic backdrops like open windows, doorways left ajar and binocular-like compositions add to the mystery behind these artistic depictions. Voyeurism has existed long before technological innovations, with classical artists like Vermeer using similar compositions to create candid moments.

Voyeurism adds an unexpected and uncontrolled element to artistic concepts, which is part of why voyeuristic art is appealing to both the creator and gazer.

# data[].attributes.attachment_link.description
Voyeuristic art explores the thrill and controversial behavior behind watching others engage in private, intimate acts. Being a part of something that is taboo is what makes the concept of voyeurism captivating to both artists and photographers, who constantly seek to push creative boundaries.

# data[].attributes.headline
Anne-Laure Maison Creates Montages of Lights and Imagination

# data[].attributes.subject
Anne-Laure Maison Creates Montages of Lights and Imagination

# data[].attributes.body
INTRODUCTION

In the dark of night, Anne-Laure Maison roams city streets searching for inspiration. She keeps an eye out for points of entry: windows and front doors with elegant shapes and decoration. She is fascinated by the interplay between light and shadow, as well as between interior and exterior. The French artist captures illuminated spaces without ever entering them. She photographs the indoors from outside, giving the lights a chance to really unfold and beam out into the night. This really shows off traditional window frames and reveals the diverse lives taking place behind the windows. Broad hallways, opulent chandeliers, and furniture from every era can be seen. At the same time, Maison is always careful not to show any intimate or private scenes. She takes all of these photographs with the express consent of the inhabitants and generally keeps their personal details out of them. Her interest is fully focused on the architecture and the light. In her studio, she then takes the individual elements and arranges them into a luminous mosaic of vastly diverse styles and shapes. To present the interior spaces in the best possible way, she fills these artworks with the night’s darkness.

Anne-Laure Maison worked at an architecture firm for several years before she decided to pursue her own artistic career. She is always fascinated by the way people live and the way their rooms are designed and decorates. As an artist, she communicates her passion for architecture in a different medium, filling it with the spirit of her nighttime adventures. The results are entirely unique perspectives on familiar cities like Paris, New York, and Venice.

# data[].attributes.attachment_link.readable_text
In the dark of night, Anne-Laure Maison roams city streets searching for inspiration. She keeps an eye out for points of entry: windows and front doors with elegant shapes and decoration. She is fascinated by the interplay between light and shadow, as well as between interior and exterior. The French artist captures illuminated spaces without ever entering them. She photographs the indoors from outside, giving the lights a chance to really unfold and beam out into the night. This really shows off traditional window frames and reveals the diverse lives taking place behind the windows. Broad hallways, opulent chandeliers, and furniture from every era can be seen. At the same time, Maison is always careful not to show any intimate or private scenes. She takes all of these photographs with the express consent of the inhabitants and generally keeps their personal details out of them. Her interest is fully focused on the architecture and the light. In her studio, she then takes the individual elements and arranges them into a luminous mosaic of vastly diverse styles and shapes. To present the interior spaces in the best possible way, she fills these artworks with the night's darkness.

Anne-Laure Maison worked at an architecture firm for several years before she decided to pursue her own artistic career. She is always fascinated by the way people live and the way their rooms are designed and decorates. As an artist, she communicates her passion for architecture in a different medium, filling it with the spirit of her nighttime adventures. The results are entirely unique perspectives on familiar cities like Paris, New York, and Venice.

1979 Born in Lyon
Studied Interior Design at Beaux-Arts in Toulouse
Lives and works in Paris

# data[].attributes.attachment_link.title
Anne - Laure Maison Fine Art Prints and Photography | LUMAS

# data[].attributes.attachment_link.description
In the dark of night, Anne-Laure Maison roams city streets searching for inspiration. She keeps an eye out for points of entry: windows and front doors with elegant shapes and decoration. She is fascinated by the interplay between light and shadow, as well as between interior and exterior.

# data[].attributes.body
I found Anne Laure Maison a while after I started to create photographs and prints of my own buildings.
to me, they capture a sense of something more. every light within a block is pretty much its own story. its own personality with its own pain, love, memories... something that reminds us of how big the world is and how there's an essence of the magic behind everyday life.
I like to explore the uncomfortable, I like to try and show raw emotions of loneliness and emptiness and give them some beauty. how when you can feel so lost and yet find excitement within this.
i saw this quote when i was young, something about knowing what you wanna do every day will have you trapped and almost a prisoner to that lifestyle, not knowing and trying something knew everyday is what keeps you free. always having that desire to learn and grow and explore. i don't remember it exactly or even who it was by- which is a shame because i wish i did. if i ever find it ill put it in here.

# data[].attributes.body
In a process of self-reflection, the depths of the abyss are plumbed there, where lust, pain, ecstasy, and asceticism flow into emotional transcendence. Jean Christophe Ammann, on In Sook Kim. Time and again, we read shocking newspaper reports about people who have lain dead in their homes for months, or even years, without any of their neighbors taking notice of them. These events are symptomatic of the increasing isolation of human beings and not just senior citizens in our society. In large cities, the risk of falling into complete anonymity is particularly acute. In her works, In Sook Kim (*1969 in Pusan, South Korea) examines how people confront the threat of isolation. Her elaborate, psychologically persuasive settings show how we use television, computers, sex, alcohol, psychotropics, or illegal drugs in our futile attempts to fill the agonizing void, to drown out the terrible silence and painful awareness of our loneliness. Kim s grandiose work, Saturday Night, condenses all of these escapes into one image; the illuminated windows of a high-rise provide an unobstructed view into the abyss of human existence.

# data[].attributes.body
Shot by photographer Sook Kim based in South Korea, the Saturday Night photo series conveniently and excitingly exposes the lives of hotel occupants. Barred windows show 66 different colorful scenes that range from the sad and deranged to the daring and naughty. According to My Modern Met, "Kim explains she is not being critical of the perverse behavior within the hotel, but says she is merely an observer."

# data[].attributes.body
personally, i really enjoy Saturday night, its something i find really intriguing. i like that she explores ways we all do things (sometimes unmoralistic) to fill the void most of us feel these days.
she's inspired me to start creating even more imamate pieces, i like the idea of creating/painting scenes quite like she has. id still like to include some more abstract / harsher lines. an almost glitch-esc (if that's even a word). im still heavily interested in neon lighting so i like the way she has used different colors of light to add to the atmosphere of some of her photographs.

# data[].attributes.body
Print became something that I connected too deeply, it helped me escape the overall feeling of perfection because it was an art in itself. Every art print was unique and held  different flaws and imperfections which helped me let go of what it looked like and to focus more on the feeling and enjoying the process

# data[].attributes.body
Whilst Owen’s paintings may depict the mundane, in style they are far from it. Dramatically deviating away from a realistic colour palette, Owen instead gravitates toward vibrant, sometimes supernatural tones. Using such colours as a means to draw the viewer in, or amplify the mood, Owen also uses them to “highlight elements in the painting that [he] thinks are important”. Moreover, he loves how using certain colours has the potential to imply certain feelings or emotions; “like how red makes a scene more intense and blues can indicate calm”.

But, not only detailing the calmer moments, the sense of intimacy is rooted in Owen’s ability to also detail the less comfortable aspects of life, and painting the volatile nature of young adulthood has helped Owen navigate the trickier times.

# data[].attributes.attachment_caption
Painter Owen Rival finds beauty in the mundane moments of life and coupledom

# data[].attributes.attachment_link.readable_text
When Owen Rival first began to take painting seriously, he tried to create art about historical and culturally significant moments. But something wasn't right. Looking to the core of his practice Owen realised that the problem lay in him not feeling "personally connected" to his works. So, the painter took to depicting his own life. Now taking inspiration from everyday experiences, Owen's spectacularly realised, over-saturated paintings show his subjects going on grocery runs, laying in bed, scrolling on a laptop and playing video games. Put quite simply, his paintings perfectly depict life's most seemingly mundane moments.

A defining feature of Owen's paintings is how sensitively and honestly he portrays existing as a couple. This focus, he shares, is part of his desire to give his paintings a certain intimacy, and, "the only way I know how to do that is paint moments that feel intimate to myself and hope that some element of it strikes a chord." In Getting Ready, Jenny, Owen's fiancee is shown putting on makeup, getting ready to go out, while Owen is in the foreground, engrossed in a video game. With an air of calm to it, the scene depicts two people at ease with one another, entirely content in their cohabitation, and it's a scene that Owen and Jenny often "unintentionally" recreate.

But, not only detailing the calmer moments, the sense of intimacy is rooted in Owen's ability to also detail the less comfortable aspects of life, and painting the volatile nature of young adulthood has helped Owen navigate the trickier times. In Longview - a piece Owen sees as somewhat an "inversion" of Getting Ready - we see Jenny's face lit by a luminescent laptop screen, and Owen in the background painting a painting of the painting at hand - cleverly included as a means to representing the repetitiveness and cyclicality of the period. Painted during a stint in Longview, Texas, Jenny's hometown, it's a glimpse of their life at the time; Jenny was preparing for medical school interviews while Owen painted everyday. "Jenny and I are at a crazy time in our lives, both because of personal reasons, like graduating from school and getting married, as well as global reasons, like the pandemic and the economy," Owen shares. "My paintings have been my way of documenting and processing these times, whether they be exciting, fun, boring, or stressful."

# data[].attributes.attachment_link.title
Painter Owen Rival finds beauty in the mundane moments of life and coupledom

# data[].attributes.attachment_link.description
When Owen Rival first began to take painting seriously, he tried to create art about historical and culturally significant moments. But something wasn't right. Looking to the core of his practice Owen realised that the problem lay in him not feeling "personally connected" to his works.

# data[].attributes.headline
The Shift”, solo show at W139 Amsterdam.

# data[].attributes.subject
The Shift”, solo show at W139 Amsterdam.

# data[].attributes.attachment_caption
The Shift - Exhibition by Rafaël Rozendaal at W139

# data[].attributes.body
Something about how there’s this sound when the person moves vs silence when they are stood still. It’s almost like machinery/ an eerie sound when the person is walking. Like everything is to overwhelming until they stop and it’s silence.
A bit unsettling and thought provoking. I like it

# data[].attributes.attachment_link.title
The Shift - Exhibition by Rafaël Rozendaal at W139

# data[].attributes.attachment_caption
The Anxious JourneyParis, spring-summer 1913

# data[].attributes.body
"To become truly immortal a work of art must escape all human limits: logic and common sense will only interfere. But once these barriers are broken it will enter the regions of childhood vision and dream."

# data[].attributes.body
The Archaeologists IV (Gli

Archeologi IV) from Metamorphosis

1929

# data[].attributes.attachment_caption
Agnes Martin: "Beauty Is the Mystery of Life"

# data[].attributes.body
Beauty is the mystery of art essay

“You must discover the art work that you like and realize the response that you make to it. You must especially know the response that you make to your own work. It is in this way that you discover your direction and the truth about yourself. If you do not discover your response to your own work you miss the reward. You must look at the work and know how it makes you feel.”

“When a beautiful rose dies beauty does not die because it is not really in the rose. Beauty is an awareness in the mind. It is a mental and emotional response that we make. We respond to life as though it were perfect. When we go into a forest we do not see the fallen rotting trees. We are inspired by a multitude of uprising trees. We even hear a silence when it is not really silent. When we see a new born baby we say it is beautiful – perfect. The goal of life is happiness and to respond to life as though it were perfect is the way to happiness. It is also the way to positive art work.”

Although I don’t exactly agree with quotes like - “Personal emotions and sentimentality are anti-art.” Because for me anyway it is heavily influenced by my feelings. Or more so my lack of understanding them. It is a work to help me navigate the mystery’s of life. However I do believe on some level emotions can set a boundary to art. It’s complex and something I’m still trying to find the right words to explain.

# data[].attributes.attachment_link.title
Agnes Martin: "Beauty Is the Mystery of Life"

# data[].attributes.attachment_link.description
Below is Agnes Martin's 1989 essay, "Beauty is the Mystery of Life," reproduced from our essential monograph, published to accompany the critically-acclaimed touring retrospective. Reviewing our book for the New York Times Book Review alongside Nancy Princenthal's aptly-timed new biography, Patricia Albers made special note of this particular text, asserting that it is "not to be missed."

# data[].attributes.body
Louise bourgeois, BOOK: woman without secrets - artist rooms, national gallery’s Scotland

# data[].attributes.attachment_caption
Arnaud Montagard's photographs of an American road trip look like Edward Hopper paintings

# data[].attributes.attachment_link.readable_text
With classic visual themes of Americana and some inspiration from those Beat poets, the images in his series, The Road Not Taken, could have been taken six decades ago, given their vintage charm. But all come with Arnaud's unique style - still life playing on light and shadow, against pastel-coloured backdrops or perhaps lone figures caught up in their own thoughts. One might almost be looking at an Edward Hopper painting when appreciating the timeless elegance of each image. Or perhaps see echos of pioneering colour photographers such as Stephen Shore and William Eggleston.

Currently living in Brooklyn, New York, Arnaud's photography focuses on composition and details, creating an atmosphere that is often referencing the work of famous American realist painters. There's an emphasis on minimalism, too, but there's beauty in the ordinary details he picks out. "My work is above all a story about light," he tells Creative Boom. "The strong shadows create a feeling that make the pictures look like paintings."

Brought together for a new book, The Road Not Taken by Arnaud Montagard, published by Setanta Books. Discover more at arnaudmontagard.com.

# data[].attributes.attachment_link.title
Arnaud Montagard's photographs of an American road trip look like Edward Hopper paintings

# data[].attributes.attachment_link.description
With classic visual themes of Americana and some inspiration from those Beat poets, the images in his series, The Road Not Taken, could have been taken six decades ago, given their vintage charm. But all come with Arnaud's unique style - still life playing on light and shadow, against pastel-coloured backdrops or perhaps lone figures caught up in their own thoughts.

# data[].attributes.body
Currently living in Brooklyn, New York, Arnaud's photography focuses on composition and details, creating an atmosphere that is often referencing the work of famous American realist painters. There's an emphasis on minimalism, too, but there's beauty in the ordinary details he picks out. "My work is above all a story about light," he tells Creative Boom. "The strong shadows create a feeling that make the pictures look like paintings."

# data[].attributes.body
Day 1 started super early, I really enjoyed seeing Venice in fog. It was inspiring for me and gave me a lot of ideas for my works, and was fundamentally a lot of the reason why I settled on some of the art styles that I did within my paintings

# data[].attributes.body
Reflecting already on some of the photos I took from Venice I definitely found a better understanding of how I wanted to express this feeling I’ve been trying to implicate into my art for a very long time. It’s always been this specific melancholy esc feeling that I’ve never been able to put into words or describe. A sadness that surrounds life but how beautiful that pain is, the loneliness that causes us to search for beauty in mundane things, the world that never stops moving. The want for peace- not even happiness. I’ve never known and still struggle how to express this within my works- I used to experiment with colour… coming to Venice made me realise the way I view other people and see these tiny windows of their lives (be physical windows or glimpses of a moment they are having)

# data[].attributes.body
Talk about ideas you had to do with sculpture that carry on from last year

Talk about the bath and wax idea as you originally started the year trying to make “happy art” realised you didn’t know what that meant
Found a love in lights / street lights and the night
Did a bunch of prints
Talk about the use of colour and escapism
Talk about the photos and edits
Talk about Amu
Talk about mental decline
talk about comfort within painting
Talk about the drawings
Talk about this reoccurring feeling no matter the idea
Talk about the book/writing ideas
Talk about the spines for those short stories
Talk about the way you figured out the style of paintings for the assesntment
Talk about the idea to do a massive painting of a apartment building with lots of little paintings coming off it that are inside
The 3D room
Landing on little snapshots to start building up the idea of all of these

# data[].attributes.body
I love taking little pictures like this and capturing people in their everyday life but making it a moment

# data[].attributes.body
Moving on from my work in second year I felt like I had healed and broke free from a lot of the heaviness that I was experiencing and I wanted to push forward from what and create “happy art”.
Do something that was out of my comfort zone and maybe had no deeper meaning.
No matter what I did or how much I tried I could not figure it out and it wasn’t something that seemed to suit me. If it had no way of connecting my feelings to my work… and I had no way of connecting to people viewing my work then I really
Didn’t have much motivation towards it

# data[].attributes.body
After realising I wasn’t able too work without some kind of link to what I felt, it sent me down a rabbit hole of who I was if I wasn’t struggling with my mental health, who I could be without it or if I would ever be fully “normal”.
I think this in itself took me a few steps backwards, I wasn’t able to really understand  myself anymore- I had so many ideas and thoughts and feelings but they all seemed so deep that I didn’t know how to make art with it, and I felt dramatic doing so. Almost like there was no point in sharing how I felt anyway- at the end of the day it doesn’t really matter

# data[].attributes.body
Started off with the idea that I would try this year to actually figure out myself / art style. at the time I didn’t want my work just to represent the hardships or the negativity- not that it always did, I always found some kind of peace and beauty in pain but I never have known how to express it accurately

# data[].attributes.body
The human figure always really connected me
To my emotions- I felt like an observer- always watching and maybe noticing things in everyday that other people perhaps didn’t

# data[].attributes.body
These drawings were the first thing I did in year 3, and the idea of people being spaced out in unknowing silhouettes really connected to the feeling I was trying to portray- loneliness maybe

# data[].attributes.body
Since I wanted to base my work more on finding myself, I was struggling with what to actually create and get started with- I’ve never been once for self portraits- I’ve never been comfortable enough nor seen myself as art I suppose so I decided to break that and use myself as reference for drawings with oil pastels

# data[].attributes.body
Oils were super fun for me at the beginning of the year, the vibrant colours and easy access unlike sculpture of paintings was a lot of fun for me to just use as a form of escape and focus more on expression than perfection. It was a little weird using myself as the art

# data[].attributes.body
As I was feeling a bit divided and unsure on what it was that I wanted to do, my next steps from the oil pastel drawings was to try and cut them up and place them ontop of eachother, I’d seen this on Pinterest many times and thought it looked a lot like how my thought process felt. Ultimately the same person but different and lived up wrong and a bit messy

# data[].attributes.body
I tried to use some different colours but realised I preferred to keep it brighter and more if only 2 colours and multiple tones rather than lots of colours. I felt the second set I tried to do with a pop of colour and darker ones just ended up making it look muddy and not as put together as the first set I tried

# data[].attributes.body
Staying within the idea of keeping my art based on photos / pictures of myself and my life I decided to write down a bunch of my deepest thoughts and thing I wanted to tell people but maybe felt to dramatic to do so or felt like it was stupid.
I always saw myself as dark, the black sheep of the family. So this time I decided to outline myself in white and have everyone else in the photos as black.
It was a fun process, and a bit like therapy but I did find this kind of idea kept me feeling low and wasn’t me moving away from the heaviness at all

# data[].attributes.body
This is pretty similar from my final piece from last year, it is something I was thinking of carrying on