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Contrasts and paradoxes were surrounding Bogdan since childhood: a wooden village house without any conveniences that drowned in snow till roof, it was situated next to a modern building of a famous bank and an awl-like TV tower. Winter frosts till -60 and dry summer heat of +40 with sandy air from Lena. House foundations on piles growing from permafrost, and ugly heat pipelines spoiling cold sky. Then St. Petersburg. Mystic inconceivable city built on an absurd spot by a controversial person with the cost of a paradox number of lives and expenses. The city that in absurd time became symbolic, isn’t it a perfect refuge for Bogdan Zwir? Weird author. Who is capable of distracting anybody from idle thoughtlessness, tearing away from a swamp of indifference, evoking craving for self-study and bringing fruitless ideas to life. Showing in the absurd the creative dynamics of magic images, his real fantasy is full of them.
Via Graphic Mania
About Ray Caesar:
I was born in London, England on October 26 1958, the youngest of four and much to my parent’s surprise, I was born a dog. This unfortunate turn of events was soon accepted within my family and was never again mentioned in the presence of polite company. I was a rambunctious youth as was natural to my breed but showed a fine interest in the arts as I drew pictures incessantly on anything including the walls and floors of every room of our tiny house. After some trouble with intolerant neighbors, my family was convinced to move to Canada and it was not long before the burgeoning town of Toronto became our new home.
Unfortunately the drawing continued to become somewhat atypical and aberrant and it was impressed upon me that such images might not be suitable for public viewing. In the summer of 69, there was a valiant attempt to stop me from doodling infamous contemptible fascist dictators upside down on my stomach with a ballpoint pen. I was consoled however by the encouragement to continue penciling in faces of flamboyant cowboys such as Gene Autry, Roy Rogers, The Lone Ranger and Tonto on my toenails but was expressly forbidden to talk to them at night.
Via Graphic Mania
Tetsuya Ishida came of age as a painter during Japan’s “lost decade”—a time of nationwide economic recession that lasted through the 1990s. In his afflictive paintings, he captured the feelings of hopelessness, claustrophobia, and emotional isolation that burdened him and dominated Japanese society. From his early career until his untimely death in 2005, Ishida provided vivid allegories of the challenges to Japanese life and morale in paintings and graphic works charged with dark Orwellian absurdity.
Ishida was born in 1973 in Yaizu, Japan, and died in 2005 in Tokyo. He graduated in 1996 from Musashino Art University, Tokyo. Solo exhibitions include The person who was not able to fly, Sunpu Museum, Shizuoka, Japan (2006); Shizuoka Prefectural Museum of Art, Japan (2007); Yaizu City Culture Center, Japan (2007); Nerima Art Museum, Tokyo (2008); Note of Tetsuya Ishida, Ashikaga Museum of Art, Japan (2013, traveled to Hiratsuka Museum of Art, Japan; Tonami Art Museum, Japan; and Shizuoka Prefectural Museum of Art, Japan, through 2015); Notes, Evidence of Dreams, Tonami Art Museum, Japan (2014); and Saving the World with a Brushstroke, Asian Art Museum, San Francisco (2014). – via gagosian.com/artists/tetsuya-ishida/
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