ART TALK RESPONSE: DAVID NAJIB KASIR

WELL! AGAIN! ANOTHER PAINTER???

BUT! HELL YEAH!!! I LIKE SOME OF HIS WORKS!

I ENJOY HIS IDEA OF COMBINATION; HE COMBINES SOME FRAGMENTAL ELEMENTS THAT WE COULD EASILY DISCOVER IN LIFE AND HIS COLORED PATTERNS. THAT IS HIS WORK STYLE. I LIKE IT. I REMEMBER IN ONE OF HIS ARTWORKS, THERE IS A COMBINATION BETWEEN THE VERY DUSTY RUINS AND THE COLORFUL PATTERNS. THE SHARP CONTRAST IN COLOR AND CONTENT GIVES ME A GREAT VISUAL STIMULATION. AND ALSO, HIS ABSTRACT WORK STYLE MAKES HIS WORK OUTSTANDING. THE ABSTRACT SELF-PORTRAIT IS VERY INTERESTING.

MOREOVER, HE THREW OUT A QUESTION “SHOULD YOUR FIRST PIECE LOOK LIKE THE LAST ONE IN YOUR COLLECTION?”

MY ANSWER IS NO! NOT NECESSARILY!

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RICK OWENS

RICK OWENS IS AN AMERICAN-BORN DESIGNER LIVING IN PARIS, KNOWN FOR HIS ABSTRACT, YET APPROACHABLE AVANT-GARDE DESIGNS. BORN RICHARD SATURNINO OWENS, HE BEGAN HIS LABEL IN CALIFORNIA IN 1994 AND NOW OVERSEES A VERITABLE FASHION EMPIRE FROM A FIVE-STORY COMPOUND IN PARIS. IF THERE'S ONE CHARACTERISTIC THAT HAS DEFINED HIS LIFE, IT HAS BEEN OWENS' FIERCE INDEPENDENCE. HIS ECCENTRIC BRUTALIST APPROACH IS EVIDENT IN HIS FASHION, HIS FURNITURE, AND EVEN HIS PERSONAL LIFE. RICK'S REPRESENTATIVE ABSTRACT FASHION DESIGN: THE FIRST GENERATION GEOBASKET INITIALLY INTRODUCED IN FALL/WINTER 2006'S "DUSTULATOR" COLLECTION, RICK OWENS DESIGNED THE GEOBASKET BECAUSE HE FELT THAT ATHLETIC SHOES WERE SIMPLY TOO "PROSAIC." PULLING ELEMENTS FROM NIKE, ADIDAS AND PUMA, OWENS WAS ATTEMPTING TO—IN HIS WORDS—CREATE MONSTER TRUCKS FOR HIS FEET. THE RESULT WAS SOMEWHERE BETWEEN MOON BOOT AND HIGH-TOP, FEATURING AN ULTRA-EXTENDED TONG

PROJECT #2

THE ROLE OF AUTHORSHIP IS THAT PEOPLE COULD TELL “HELL YEAH THAT’S BOWEN’S WORK!” BECAUSE THERE IS MY SOUL, MY STYLE, AND EVEN MY EXPERIENCE IN MY WORK. MY WORK EQUALS TO MY NAME IN SOME ASPECTS. OF COURSE, I CONSIDER MY WORK ORIGINAL, BECAUSE I EXERCISE MY AESTHETIC BY READING A HUGE VARIETY OF WORKS, WHICH ARE IN VERY DIFFERENT KINDS OF STYLES. THEN I COME UP WITH MY OWN STUFF. WHEN THE AUDIENCE LOOK AT MY WORK, THEY COULD ONLY TELL OH THAT ARTWORK LOOKED A LITTLE BIT LIKE BLABLABLA’S WORK, BUT ALSO A LITTLE BIT LIKE DLADLADLA’S WORK. BUT FUCK NO, IT IS JUST L I K E, THAT STYLE IS BOWEN’S STYLE MY ORIGINAL SHIT. EVERYONE WHO STARES AT MY WORK FOR MORE THAN 3 MINUTES COULD “TAKE POSSESSION” OF MY WORK AND DERIVE THEIR OWN MEANING FROM IT. I THINK WHEN THE AUDIENCE GET THE BEAUTY OF MY STUFF, AT THAT MOMENT, THEY TAKE POSSESSION OF IT. AND THEY COULD ALSO DERIVE THEIR OWN MEANING FROM IT BECAUSE PEOPLE FROM DIFFERENT EXPERIENCES OF LIFE COULD DEFINITELY DERI VE DIFFERENT MEANIN

PROJECT #3

“BEETHOVEN’S DEAFNESS DESIGNATES THE LACK WHEREIN RESIDES ALL SIGNIFICATION; IT APPEALS TO A MUSIC THAT IS NOT ABSTRACT OR INWARD, BUT THAT IS ENDOWED, IF ONE MAY PUT IT LIKE THIS, WITH A TANGIBLE INTELLIGIBILITY, WITH THE INTELLIGIBL E AS TANGIBLE.” BARTHES (P. 152) BEETHOVEN’S MUSIC IS OFTEN SEEN AS A REFLECTION OF HIS INNERMOST THOUGHTS AND FEELINGS. HIS DEAFNESS, HOWEVER, FORCED HIM TO RELY ON HIS OTHER SENSES, PARTICULARLY HIS SENSE OF TOUCH AND VIBRATION, TO CREATE HIS MUSIC. HE WOULD OFTEN PLACE HIS HANDS ON THE PIANO OR ON THE WALLS OF HIS ROOM TO FEEL THE VIBRATIONS OF THE SOUND HE WAS CREATING. THIS ALLOWED HIM TO CREATE MUSIC THAT WAS NOT JUST AUDITORY, BUT THAT WAS ALSO TACTILE AND PHYSICAL. AS FOR MY PROJECT, I SHARED MY PERSPECTIVE TO ENJOY THE BEAUTY IN OUR LIFE. IT COULD BE USED AS A TOOL HELP AUDIENCE FIND THE BEAUTY IN THEIR LIFE. BASED ON MY UNDERSTANDING, THE ESSENCE OF LIVING IS TRYING TO ENJOY THE PROCESS OF IT, PEOPLE, MAYBE, CAN GET MORE PLEASURE FROM LIV

DECO

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