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Gloobbi News lifestyle design art technology architecture 2013-07-09T10:35:17Z WordPress http://www.gloobbi.com/feed/atom/ Annie-Rose http://www.gloobbi.com <![CDATA[Organic Global Change]]> http://www.gloobbi.com/?p=10436 2013-07-04T12:03:52Z 2013-07-04T12:03:52Z Strict Standards: Non-static method nggallery::get_option() should not be called statically in /homepages/34/d261305135/htdocs/wp-content/plugins/nextgen-gallery/nggfunctions.php on line 10
In response to the looming health concerns associated with modern life more and more people are turning to organic, or bio, food to put mind and body at ease. Obesity, stress, pollution, toxic pesticides in food, adulterations of meat and the side-effects of consuming hormone-injected cattle- it should come as no surprise then that [...]]]>
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In response to the looming health concerns associated with modern life more and more people are turning to organic, or bio, food to put mind and body at ease. Obesity, stress, pollution, toxic pesticides in food, adulterations of meat and the side-effects of consuming hormone-injected cattle- it should come as no surprise then that the health conscious of today strive to ensure that they have the healthiest food possible on their plate.

This is no recent phenomenon, following reports of a pesticide called DBCP causing sterility in banana plantation workers in Latin America, the US Environmental Protection Agency enforced a ban on the practice in the late 1970’s.

Since this event nearly two decades ago, organic food has been gaining popularity. Advancements in regulations mean organic crops are supposed to be grown using only natural fertilizers and animals kept in good conditions, with absolutely no use of hormonal injections.

Inspection bodies follow a strict set of guidelines before certifying any produce as organic and soil fertility, animal welfare and water conservation are some of the objectives that organic farming must meet. But how is this trend developing globally?

According to the ‘Soil Association’ market report of 2013, despite the struggling UK economy leading to a slight fall in overall sales of organic products, the number of consumers below the age of 35 has significantly increased along with the amount of people shopping online for these products. This clearly shows the increasing concerns of the younger generation when it comes to their health, and the mainstreaming of this resulting bio culture.

America, Germany and France are the top three global markets for organic products, with the organic market in the US alone making up 44% of organic produce sales globally.

New Zealand and Australia are among the most important producers of organic food in the world, yet since they export most of their produce to destinations such as Asia their consumption rate is relatively low meaning they represent a mere 2% of the global organic food market in this sense. As awareness spreads ever further, Asia too is said to be catching up with this global organic trend.

However, the rationale behind consuming organic food is often questioned. Organic products definitely cost much more than other products, due to an increased investment in training farmers and ensuring higher standards of animal welfare and environmental policy.

Yet some have raise concerns about the claimed freshness of organic produce after being transported across long distances, as well the quality of organic products not certified by a governmental inspection body.

In order to get a hold on the big debate, researchers at Stanford and ‘American Academy of Pediatrics’ decided to delve, independently, into the matter further. Their studies revealed that there was little difference between organic and ordinary food in terms of vitamin content, while phosphorus was the only nutrient having higher concentration in the former.

The study also found that normal milk was not affected by the hormonal injections given to cows and that there was no difference in the protein or fat content otherwise, calling into question parental concerns about what kind of milk to buy children.

Bizarrely, a study in the ‘Social Psychology & Personality’ also pointed out that regular organic food consumers tended to think that they somehow had an upper hand over others and thus, suggested the study, may prove to carry out less altruistic deeds than their “ordinary” counterparts in the long run.

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by Menorca Chaturvedi
Gloobbi Contributor

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Annie-Rose http://www.gloobbi.com <![CDATA[Soul Searching in Guatemala]]> http://www.gloobbi.com/?p=10432 2013-07-04T10:37:59Z 2013-07-04T10:37:59Z Strict Standards: Non-static method nggallery::get_option() should not be called statically in /homepages/34/d261305135/htdocs/wp-content/plugins/nextgen-gallery/nggfunctions.php on line 10
Surrounded by impressive volcanoes and the stunning Guatemalan Highlands, and with a handful of Mayan towns and villages welcoming tourists and travelers alike, Lake Atitlan is one of Guatemala’s top destinations. Yet hidden away on a peaceful part of the lake’s shores, away from the major towns and transport hubs is the little village [...]]]>
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Surrounded by impressive volcanoes and the stunning Guatemalan Highlands, and with a handful of Mayan towns and villages welcoming tourists and travelers alike, Lake Atitlan is one of Guatemala’s top destinations.

Yet hidden away on a peaceful part of the lake’s shores, away from the major towns and transport hubs is the little village of San Marcos La Laguna; a place that continues to inspire as a destination for meditation, yoga and alternative therapies more than 20 years after its first spiritual center opened in 1991.

The original center of Las Piramides del Ka has steadily grown in popularity and reputation, now attracting a wide range of international visitors. Drawn by the promise of peace, quiet and reflection, they stay for a few hours, a week or even a month at a time.

Unlike some of the newer retreats in San Marcos, Las Piramides is not a hotel. Visitors can only stay in one of the enticing wooden pyramid-shaped cabins if they take part in the courses that are on offer.

Tucked away among trees at the end of a little footpath with birds twittering, butterflies buzzing past and the sound of the lake’s shores in the distance, it is easy to see why so many people find Las Piramides to be an inspiring and beneficial base for reflection, relaxation and soul searching away from their everyday lives.

The most serious guests join up to the month-long Moon Course, which involves three daily classes that include yoga, meditation and metaphysics teachings. Throughout the month the classes focus on a variety of spiritual topics such as dream interpretation, discovering the sub-conscious and astrology.

At the end of the course, one week is spent in complete silence whilst taking part in detoxifying treatments. For those even more eager to find inner harmony there is the intense Sun Course that lasts for three months at a time.

Of course a month-long spiritual course is not for everyone, so guests are encouraged to stay as little or as long as they require. On top of this the center offers a variety of other classes and alternative therapies for those looking for a first step into spiritual healing. Visitors can drop in to take part in a meditation class or yoga group, or to book a same-day massage, including a relaxing full-body massage from one of the on-site specialists.

Whichever course or class a guest attends, Las Piramides hopes to offer its visitors the chance to find physical and mental balance. It might be a tall order for many, but those who keep an open mind should at least come away feeling refreshed, recharged and relaxed having completely switched off from their normal lives, even if it is just for a short time.

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by Cheryl Claxton
Gloobbi Contributor

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Annie-Rose http://www.gloobbi.com <![CDATA[Only God Forgives]]> http://www.gloobbi.com/?p=10425 2013-07-02T11:09:16Z 2013-07-02T11:06:59Z Strict Standards: Non-static method nggallery::get_option() should not be called statically in /homepages/34/d261305135/htdocs/wp-content/plugins/nextgen-gallery/nggfunctions.php on line 10
It is only halfway through Only God Forgives and people are getting up to leave. An especially violent scene is playing out on the big screen up ahead and it seems to be proving too much for some. Some might ask how audiences could have been confused as to the nature of this film [...]]]>
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It is only halfway through Only God Forgives and people are getting up to leave. An especially violent scene is playing out on the big screen up ahead and it seems to be proving too much for some. Some might ask how audiences could have been confused as to the nature of this film before seeing it when a quick delve into director Nicolas Winding Refn’s archive would reveal Bronson the tale of a deranged, fame-hungry criminal, the grimy drug-fuelled Pusher Trilogy and most recently the cool and decidedly old school Drive.

And indeed what can be found in Only God Forgives can be found in these critically acclaimed features also. Yet in this latest release Refn distills these trademark stylistic and thematic elements- violence, bold colour, and the left unsaid- to produce something somehow much more extreme, and unfortunately less successful.

The film is the story of a sketchy American family living in Bangkok. On these steamy, dirty streets they run a Thai boxing club as a cover up for the drug smuggling business that is the real source of their wealth. Central protagonist Julian (Ryan Gosling) is racked with guilt and a misplaced sense of honour after his crude mother (Kristin Scott Thomas) demands that he avenge the recent murder of his equally vile brother (Tom Burke), a fate that Julian quickly learns was well deserved.

This film crawls with the insidious- the oedipal mother-son relationship, the gutter industries of sex and drugs and the lowlives that populate them. Yet oddly, despite all this muck and a preoccupation with the elemental, visceral themes of sex and violence, what transpires is a film that is clinical and disengaged. Refn anatomises theses themes so purely in this case that they become devoid of all context and contribution, and seem detached even from the characters that enact them.

Still, this film certainly does not bring into question Refn and Gosling’s undoubtable grasp of cool. For the second time the pair create a sharp portrayal of a main character that oozes sex appeal and masculinity. Aside from Gosling, the film itself is aesthetically gorgeous. Each shot is calculated to perfection with exquisite balance and detail, and each frame seems to linger (a little too long perhaps) in appreciation of this success.

As in Drive, Gosling employs a brooding brand of cool, breaking his silence only occasionally to deliver one liners with effortless confidence: “wanna fight?” he asks the Thai police inspector straight-faced. Such dialogue is sparse, communicating instead using long, meaningful glances and trippy delves into Julian’s paranoid psyche.

Despite its unquestionable cool, the film and its moody glances becomes tiresome towards the end. There is too much left unsaid, too much focus on style as opposed to substance, leaving us with something of a shell of a story. Beautiful, cool and accomplished in both production and cast but lacking soul somehow. Perhaps this was intentional, the characters, the relationships they have and the world they inhabit are soulless, a point which Refn clearly wanted to reverberate throughout. In all however this feeling of things hidden in the shadows was frustrating. This is a film that needed a shake to break past the facade of cool and collected to reveal something more honest and substantial beneath.

Only God Forgives is due for general release on 19th July 2013.

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by Annie-Rose Harrison-Dunn
Gloobbi Representative

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Annie-Rose http://www.gloobbi.com <![CDATA[Revealing Damien Hirst Catalogue Raisonné]]> http://www.gloobbi.com/?p=10420 2013-06-27T17:19:31Z 2013-06-27T17:19:31Z Strict Standards: Non-static method nggallery::get_option() should not be called statically in /homepages/34/d261305135/htdocs/wp-content/plugins/nextgen-gallery/nggfunctions.php on line 10
The recent announcement by the publishing arm of Damien Hirst’s company Science Limited, Other Criteria, that a catalogue raisonné will be published in fall 2013 has caused a frenzy in the contemporary art market. The catalogue will provide details of all of his spot paintings, and as a result has invoked some panic amongst owners [...]]]>
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The recent announcement by the publishing arm of Damien Hirst’s company Science Limited, Other Criteria, that a catalogue raisonné will be published in fall 2013 has caused a frenzy in the contemporary art market. The catalogue will provide details of all of his spot paintings, and as a result has invoked some panic amongst owners who could be in for a shock as to the authorship of their purchase.

Hirst is of course one of the most successful contemporary artists of his generation. In his second year at Goldsmith College in London he curated Freeze where the ‘Pharmanceutical’ spot paintings were first shown and for which he became well known. Well over a thousand other spot paintings went on to be created. What is not clear, however, is exactly how many were painted by Hirst himself and how many by his assistants. The announcement of the catalogue raisonné implies that this mystery could soon be solved.

It seems that the owners of some of Hirst’s spot paintings may be in a similar position to that of the proud owners of some paintings by Salvador Dali. It is now well known that many works sold as original Dali’s were in fact painted by assistants and simply signed by him. Whilst Dali’s death means the authenticity of some of his paintings may never be known, Hirst is still alive and kicking to confirm or deny.

The imminent publication of the catalogue has raised a whole host of questions, such as what will happen to the market value of the paintings which were in fact not created by Hirst but by his assistants.

Hirst has never hidden the fact that the majority of the spot paintings were actually created by his assistants. He has said that what is important is the work of art itself, and its intrinsic aesthetic value, as opposed to who actually created it. However, unsurprisingly, not all of the owners of the spot paintings will hold the same point of view. One of the spot paintings was purchased for $3.4 million and his complete show, ‘Beautiful Inside my Head Forever’ smashed all records and sold for $198 million. Many buyers of these paintings bought them as an investment due to their high market value at the time, rather than perhaps for their artistic worth.

Those who do not want to take the risk of investing in an original spot painting until the publication of the catalogué raisonné can purchase limited edition signed prints available in the Gallery Art Republic, in Soho, London. In the meantime, Science Limited has also announced that Hirst is working on a spot painting with a million spots that is will take a number of years to complete.

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by Anne Ivers
Gloobbi Contributor

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Annie-Rose http://www.gloobbi.com <![CDATA[Hani Zurob: Art Without Borders]]> http://www.gloobbi.com/?p=10416 2013-06-27T16:42:49Z 2013-06-27T16:42:49Z Strict Standards: Non-static method nggallery::get_option() should not be called statically in /homepages/34/d261305135/htdocs/wp-content/plugins/nextgen-gallery/nggfunctions.php on line 10
It is 1984 and ten year old Hani Zurob sits in his father’s study. There is yet another curfew in Rafah, Gaza and it will be days before he and his family will be able to leave their home. The walls around him are lined with books and out of boredom perhaps he takes [...]]]>
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It is 1984 and ten year old Hani Zurob sits in his father’s study. There is yet another curfew in Rafah, Gaza and it will be days before he and his family will be able to leave their home. The walls around him are lined with books and out of boredom perhaps he takes one down to read and begins to draw images from the pages. This was the first time Hani Zurob realised he wanted to be a painter.

Skip forward a few years and he would send these illustrated books to his childhood crush when he could- just a few streets away but separated by warlike circumstances. He speaks now of the promise he made to her all those years ago: “I told her I will be a painter and I will have a studio in Paris,” he grins as he sits in the actualisation of that dream. (”Did you tell her you did it?” it is hard to resist asking. He did, he confirms.)

This quiet poetry runs through Zurob’s stories and lines his studio walls where his work hangs as he sits now sipping coffee with his friend and fellow painter Mohammed Joha. Qoudsi, his son, stares wide eyed down from one of the canvases and Zurob explains this project in which his five year old is at the core.

Zurob may well be a card carrying citizen now here in France, but in the eyes of certain laws he will always be that boy from Gaza. “For the Palestinian, where he goes he can bring only the problems with him [...] It’s not about place, it’s about to be or not to be because [the Israeli occupying forces] don’t want you to be there and he doesn’t want you also to be outside.” Zurob’s wife is from Jerusalem and must return regularly, when his son leaves with her Zurob cannot accompany them. As young Qoudsi begins to acquire the language to articulate his confusion he asks: “Papa why can’t you come with us? Every time you stay here.” This is a big topic for such a little boy and without adequate, tangible answers Zurob tells his son simply that he is afraid of flying.

For his latest project he paints a space where the two can talk about these problems and try to find a solution. In this walled, liminal space Qoudsi sits with his toys- notably all forms of transport- waiting for his dad just as he waits in Jerusalem. At first glance these paintings appear sort of sad- a lost boy alone with his toys in no mans land- but Zurob prefers instead for them to be seen in terms of a sense of working through wrongs and gathering strength of conviction by generation. Hani Zurob tells his story through his paintings; Qoudsi now begins to develop his own form of articulation, who knows what he will eventually say and how loudly he will say it. “It’s like a kind of heritage,” says Zurob.

This personal development has not just inspired Zurob’s work thematically, but stylistically also. In previous pieces exhibited at L’Institut du Monde Arabe in Paris and the Henry Moore Institute in the UK, Zurob’s work was distinctly expressionist with bold, thick color vividly depicting figures. Now in this latest project lines are accurate, clear and focused. Surely a reflection of a first born’s influence on the life of a father.

Yet, Zurob asserts, his paintings do not represent a story of particularity. Of course he has been immensely influenced by his Palestinian heritage and experiences but what he aims to create is not works based upon a personal story, nor a specifically political one, but something far more universal. The experience of the Palestinian is somewhat singular but more importantly to Zurob it is marked by bigger, more relatable themes such as exile, liminality, diaspora, lineage and identity. This is a battle for Zurob since his intriguing background means he is in constant danger of being pigeonholed: “I am proud of my Palestinian heritage,” he explains, “but not for somebody else’s point.” His work is informed by his past but not dictated by it and as his style progresses ever forward he remains steady in his refusal to convert these experiences into a neat marketing ploy.

More information can be found on his website HERE and his monograph “Between Exits” is available to buy HERE.

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by Annie-Rose Harrison-Dunn
Gloobbi Representative

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Annie-Rose http://www.gloobbi.com <![CDATA[From Colonial to Cosmopolitan: Antigua Guatemala]]> http://www.gloobbi.com/?p=10412 2013-06-25T10:44:42Z 2013-06-25T10:44:42Z Strict Standards: Non-static method nggallery::get_option() should not be called statically in /homepages/34/d261305135/htdocs/wp-content/plugins/nextgen-gallery/nggfunctions.php on line 10
Since the end of its civil war over a decade ago, Guatemala has been a common starting point for backpacking adventures through Central and South America. Its intoxicating mix of beautiful scenery, Mayan culture and ancient ruins have long appealed to independent travelers. Yet nowadays tourists of all persuasions are heading to Guatemala, and one [...]]]>
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Since the end of its civil war over a decade ago, Guatemala has been a common starting point for backpacking adventures through Central and South America. Its intoxicating mix of beautiful scenery, Mayan culture and ancient ruins have long appealed to independent travelers. Yet nowadays tourists of all persuasions are heading to Guatemala, and one place in particular is continuing to drive the upward trend in its global tourist appeal: the beautiful colonial city of Antigua Guatemala.

Set in the stunning Valley of Ponchoy at 1500m above sea level, Antigua has a calm climate with moderate temperatures year-round, something which belies its tumultuous position in an area that has seen many destructive earthquakes and is surrounded by three volcanoes (one of which, Fuego, still puffs out smoke on an almost daily basis). Antigua’s past battles with its geography can be seen in its many ruined cathedrals, convents and monuments. And it is this that is so endearing to Antigua’s modern-day tourists: this is a city with a story.

Once the capital city of all Spanish-controlled Central America, Antigua is known to be the birthplace of the Baroque architectural style that later spread throughout Latin America. The city is abundant with stunning buildings that were built in a flurry in the 17th Century when Antigua was at the height of its influence.

Yet those destructive fault lines were constantly a problem here, and after another devastating earthquake in 1773, the capital city was moved to the less earthquake- vulnerable area of the current Guatemala City. After this Antigua became known as La Antigua Guatemala (the old Guatemala), and surely never has there been a more apt name; its historic ruins, Renaissance style and UNESCO world heritage listing make it a colonial gem waiting to be explored.

Yet it is more than just the history of the place behind Antigua’s appeal: Antigua is loved by foreigners and locals alike. It can be seen on every street: its colorful colonial stucco buildings painted in pretty shades of blue, pink and yellow are both homes and hotels; its central park is a mix of tourists taking photos and locals nattering with friends; its popular local market is a bustle of Antiguans whilst next-door the artisan market is teaming with tourists.

Unlike many other beautiful cities that often seem too precious, Antigua has somehow managed to balance its popularity as a beautiful tourist city with its everyday life as home to 35,000 people. And it is not just Guatemalans who call Antigua home; more and more foreigners are moving to Antigua to work and study, bringing with them international cuisine, a café culture and global brands. This thriving cosmopolitan vibe is being embraced by traditional Antiguans as well as their new neighbors.

Despite this Antigua is not without its problems; after all it is a city, albeit a small one. Only last year was the local mayor arrested on charges of money laundering and corruption. Yet unlike Guatemala City, Antigua is relatively crime-free. Thanks to the specialist Tourist Police, robberies and petty theft have been all but abolished from the central area. No other Guatemalan city feels this safe.

And nowhere in Guatemala do the old and new mingle quite so effortlessly. Antigua is a city to explore colonial pasts, beautiful architecture and intriguing traditions, and if it all gets too much just do like an Antiguan: grab a Guatemalan coffee and watch the world go by in the central park.

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by Cheryl Claxton
Gloobbi Contributor

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Annie-Rose http://www.gloobbi.com <![CDATA[Contemporary Brazilian Art Boom]]> http://www.gloobbi.com/?p=10407 2013-06-25T09:47:16Z 2013-06-25T09:47:16Z Strict Standards: Non-static method nggallery::get_option() should not be called statically in /homepages/34/d261305135/htdocs/wp-content/plugins/nextgen-gallery/nggfunctions.php on line 10
Brazil is now the seventh largest economy in the world and has long since been hailed as the central driving force of the continent of South America fiscally. While in recent times it has been feared that Brazil’s economy is set to flail in the way most other countries have in this current economic climate, [...]]]>
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Brazil is now the seventh largest economy in the world and has long since been hailed as the central driving force of the continent of South America fiscally. While in recent times it has been feared that Brazil’s economy is set to flail in the way most other countries have in this current economic climate, its contemporary art scene seems only to be going from strength to strength.

In Rio de Janeiro and Sao Paulo, the contemporary art market is vibrant and buzzing. Galleries such as Fortes Vilica and Gentil Caricoa are representing some of the top names in Brazilian contemporary art, offering something to suit lovers of all genres of contemporary art ranging from paintings to video, sound installations to sculpture.

In fact, in the past month, Brazilian contemporary art has not been out of the news. In New York in the last week of May, Sotheby’s showcased a sale of contemporary Brazilian art. Artists who are at the forefront of contemporary art in Brazil such as Adriana Varejao and Carlito Carvalhaso were some of the top names with works for sale. In the same month, Christie’s New York Latin American art sale saw a painting by the Brazilian artist Candido Portinari sell for over $1.4 million, and amounted total gross sales of over $21 million at the event.

There is no doubt that Brazilian contemporary art is taking center stage and that prices are rocketing. A Portuguese purchaser who bought a work by Adriana Varejao from her London Gallery, Victoria Miro, a number of years ago for under £50,000 resold it at auction recently for over £1million.

Brazilian contemporary artists such as Varejao are now certainly in the same arena as other top international names, Varejao now being represented in New York by the same person as Jeff Koons. Varejao’s thirty nine painting panel installation, Carnivoras (2012) will also feature at Art Basel Unlimited in Switzerland this week.

Brazilian contemporary art is booming and everyone wants a piece of it. Art investors from Brazil, like investors from other emerging markets such as China, tend to display country loyalty. This means that they will give preference to contemporary artists from their home country and they have big money to spend. Chinese investors have helped push up the market price of the work of contemporary Chinese artists and Brazilian investors are now doing the same. This in turn instils confidence in the Brazilian contemporary art market which pushes demand and prices up even further world wide.

The Brazilian government also gives generous tax relief to those who invest in culture and the arts which evidently helps the thriving art market.

This of course is supported by the depth of the works themselves, with Brazilian artists often drawing from their country’s complex colonial past. Adriana Varejao’s work focuses on ideas of using the past to understand the present. Carnivoras (2012) takes its inspiration from a scientific Botany encyclopedia documenting exotic regional flora, and uses historical reference such as Portugese baroque art. The suggestive renderings of the Carnivorous plants entice the viewer with a natural eroticism.

Another rising star of the Brazilian contemporary art scene is Maria Nepomuceno, who takes her inspiration for her contemporary creations from Brazilian traditional crafts. Earlier this year she had a successful exhibition at the Turner Contemporary Center in England, while later on in the year she will exhibit at the 2013 Hangzhou Triennial of Fiber Art in China. In July her biggest exhibition to date will open at the Museum of Modern Art in Rio de Janeiro.

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by Anne Ivers
Gloobbi Contributor

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Annie-Rose http://www.gloobbi.com <![CDATA[Erik Jones]]> http://www.gloobbi.com/?p=10401 2013-06-20T10:50:40Z 2013-06-20T10:50:40Z Strict Standards: Non-static method nggallery::get_option() should not be called statically in /homepages/34/d261305135/htdocs/wp-content/plugins/nextgen-gallery/nggfunctions.php on line 10

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Erik Jones: Contemporary Art, Contemporary Artist

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Annie-Rose http://www.gloobbi.com <![CDATA[Erik Jones: Contemporary Art, Contemporary Artist]]> http://www.gloobbi.com/?p=10395 2013-06-20T11:01:47Z 2013-06-18T13:03:55Z Strict Standards: Non-static method nggallery::get_option() should not be called statically in /homepages/34/d261305135/htdocs/wp-content/plugins/nextgen-gallery/nggfunctions.php on line 10
Gloobbi recently talked with New York based contemporary figure artist Erik Jones on his transition from illustration to fine art, and the independence of artists in this modern age of social media. Jones was raised in St. Petersburg, Florida, a beach community with a proclivity for sunshine and folk art. In 2007 he graduated from Florida’s [...]]]>
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Gloobbi recently talked with New York based contemporary figure artist Erik Jones on his transition from illustration to fine art, and the independence of artists in this modern age of social media.

Jones was raised in St. Petersburg, Florida, a beach community with a proclivity for sunshine and folk art. In 2007 he graduated from Florida’s Ringling College of Art and Design, where he studied media and digital illustration.

Today, the artist combines traditional and modern techniques to create vibrant, techni-colored portraits with a certain pop-edge cool about them, contrasting with the delicate and dreamy aura projected by his female subjects.

“I build my entire piece digitally first. It’s my plan, my matrix. I probably spend more time in this stage then I do the actually painting. Every color, every shape is methodically mapped out. Once I have the image I like, I project the line drawing and outlined shapes to paper.”

He then uses a blend of traditional techniques including watercolor, colored pencil, oils and acrylics to bring the works to life.

Jones’ greatest inspirations are contemporary non-representational, or abstract, painting and fashion photography, often using fashion models as his subjects.

“I’ve been photographing models for years, so I have quite the collection to take from…I can normally “Frankenstein” my reference together with prior photos to create something fresh.”

Jones could write a book on the subject of self-promotion, believing that the greater overall exposure an artist can muster (using all means available), the better.

“I can’t believe how many people don’t take advantage of social mediums that focus on self-promotion and developing a “fan” base. Facebook, Instagram, Twitter, Tumblr… You should be on all of them. I believe this is the number one tool for the modern artist to achieve success.”

The artist’s active online presence is testament to this mantra. Unlike many artists whose public exposure exists purely through gallery websites, Jones has his own interactive website and blog where viewers can see and read about his work, watch videos and order prints and apparel. He also benefits from people re-blogging and sharing his work.

“It’s really important for an artist to be aware that this is a business. Being a free agent is beneficial (for some). You meet more people and do the legwork yourself, creating contacts and making friends. This is very, very important.”

However, Jones is by no means anti-gallery. He has a healthy view on the role galleries can play and works collaboratively with Spoke Art in New York. Currently enjoying some space from commercial projects, he acknowledges the benefits of working on personal projects with a gallery.

“It’s very tiresome and challenging to have to worry about finding [your own] shows, making prints, marketing yourself, etc. Though for me, again, having a degree of independence is the way to build my brand.”

Coming from the illustration world, accessibility is a no-brainer to Jones. However, he appreciates that one does not want to flood his or her market, and has refined his creative process to avoid the point where his artistic integrity or creative process is hindered.

“I used to create paintings simply to sell them. There was no consistency, no heart, no feeling behind the work. I was flooding my own market so everyone could have a piece, ultimately just to make money. My new series has totally changed the way I think about creating. I went into it not caring if the pieces sold - it was more for my own creative therapy. This way I was able to create something that was really unique and dear to me.”

Check out some more of Erik Jones’ recent work on his website HERE or follow his blog HERE.

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by Jenny Wylie
Gloobbi Representative

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Annie-Rose http://www.gloobbi.com <![CDATA[Damien Hirst Quote]]> http://www.gloobbi.com/?p=10388 2013-06-18T11:34:19Z 2013-06-18T11:34:19Z Strict Standards: Non-static method nggallery::get_option() should not be called statically in /homepages/34/d261305135/htdocs/wp-content/plugins/nextgen-gallery/nggfunctions.php on line 10
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