Owen Heitmann (![[info]](http://l-stat.livejournal.com/img/userinfo.gif){kind=small} owen_draws) wrote,@ 2008-02-12 16:01:00 |
|
| Entry tags: | 2007, black and white, exhibited, instantaneous, original art, sold |
Liar (If You’re Keeping Score)
This was my contribution to last year’s Instantaneous II art exhibition, showcasing comic-inspired art by South Australian artists. The size of the original art is A3. 
Instantaneous II, an exhibition of South Australian comic art, opened at the Grace Emily Hotel (232 Waymouth St, Adelaide, South Australia) on December 4, 2007 and ran until Dec 21. It featured 45 pieces by 38 artists. All pieces were professionally auctioned on opening night and all proceeds went to local charities.
Useless Trivia...
Despite the fact that I have been known to publicly deride Roy Lichtenstein’s comic-derived pop art for copying original comic artists and not giving credit, I used a similar technique to create this piece, in an attempt to capture what I regarded as the pop culture spirit of the Instantaneous concept. I based the art on a collage of panels taken from various published 1950s and 1960s romance comics, which I then added different dialogue to and redrew.
My favourite aspect of this picture is the way the rest of the fictional page can be glimpsed. As I wrote about my contribution Then to the first Instantaneous, what I like most about the concept of the exhibition is taking a panel out of context and allowing the viewer to create their own idea of what comes before and after. Having parts of the panels there reinforces the idea that there is a larger story, without specifying exactly what that story is. A lot of the pieces in the second Instantaneous were less obviously comic panels than the first exhibition, making it more of a general art exhibition than a specifically comic inspired one. I’ve been told that the design of my piece has influenced the criteria for the upcoming third exhibition, which insist on a clear comic book link.
The name of the piece is taken from a song by Taking Back Sunday. I originally intended to call it Liar (I’m Keeping Score) so that the reference was more oblique, but I wrote the actual lyric as the title on the back of the piece from force of habit. In the booklet that accompanied the exhibition, the title was given simply as Liar in the index of artworks, and elsewhere was misspelled as Lair.
The dialogue in the piece, including the partial fragments, was written in response to a personal situation I was going through at the time. Public art = private therapy, haha.
This was the final piece of artwork to be auctioned on opening night, and was sold for a respectable $270.
Despite the fact that I have been known to publicly deride Roy Lichtenstein’s comic-derived pop art for copying original comic artists and not giving credit, I used a similar technique to create this piece, in an attempt to capture what I regarded as the pop culture spirit of the Instantaneous concept. I based the art on a collage of panels taken from various published 1950s and 1960s romance comics, which I then added different dialogue to and redrew.
My favourite aspect of this picture is the way the rest of the fictional page can be glimpsed. As I wrote about my contribution Then to the first Instantaneous, what I like most about the concept of the exhibition is taking a panel out of context and allowing the viewer to create their own idea of what comes before and after. Having parts of the panels there reinforces the idea that there is a larger story, without specifying exactly what that story is. A lot of the pieces in the second Instantaneous were less obviously comic panels than the first exhibition, making it more of a general art exhibition than a specifically comic inspired one. I’ve been told that the design of my piece has influenced the criteria for the upcoming third exhibition, which insist on a clear comic book link.
The name of the piece is taken from a song by Taking Back Sunday. I originally intended to call it Liar (I’m Keeping Score) so that the reference was more oblique, but I wrote the actual lyric as the title on the back of the piece from force of habit. In the booklet that accompanied the exhibition, the title was given simply as Liar in the index of artworks, and elsewhere was misspelled as Lair.
The dialogue in the piece, including the partial fragments, was written in response to a personal situation I was going through at the time. Public art = private therapy, haha.
This was the final piece of artwork to be auctioned on opening night, and was sold for a respectable $270.
