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daniel Jouseff


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daniel Jouseff


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ORIGINAL TITLE: SAH AL-NOM ENGLISH TITLE: GOOD MORNING


ORIGINAL TITLE: SAH AL-NOM ENGLISH TITLE: GOOD MORNING


 

‘an infinite sphere, whose centre is everywhere and whose circumference
is nowhere'            While boundlessness is a characteristic of the empyrean, bounds are the defining characteristic of our reality. Not only the bounds we draw in the world, separating one thing from another, but the boundaries we draw within ourselves.           What belongs here, what must be ejected outside the circle of our self? What remains inside the circle is us, what is outside the circle is ‘the other’.           The sword and the dagger have symbolized the ability of reason to divide the world into ever decreasing parts within the mystic traditions. If the cut is suggestive of division, is the rubbing out of the line a healing, by making something whole again?            The question Daniel has chosen to address is where to place the cut, and how it affects us. How and where people divide themselves from the world comes to define how we interact with what remains outside our bounds.

 

brutalist performance food babette w Dr Holler and Robyn


brutalist performance food babette w Dr Holler and Robyn


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transition


transition


 

The artist’s studio is an external reflection of the inner world of the artist. What takes prominence and what has been put away in storage are external reflections of inner processes. Daniel Jouseff has chosen to illustrate this process at work in the installation Transition. Works of art can be seen in the context of the tools and processes which have shaped them, and the creative transformation is elucidated. The relationship between the studio and art work illuminates not just the tools at work, but the recurring processes which are expressed and then reformed by the outcome of each art work are made visible as an essential part of the creating art. Art can express whatever humans can think. Art however is grounded in whatever the artist experiences in their life. Daniel has chosen to not try to express singular and large issues, instead focusing on the flow of experi-ences within which everyone passes in their everyday life. Rather than what seems prominent in the world at large, he has chosen to turn his attention to what feel significant in his everyday life. It’s an attempt to freeze and give form to the unceasing stream of impressions and experiences of our daily lives. This process shows a reverence for the everyday, the only thing we can relate to in most senses. There is a sense of immanence as well in the chaotic and unorganized. Life is messy, rather than the well-lit cathedral we struggle to attain and the Enlightenment showed us. This recognition of the chaotic and and it’s organic forms are reflected not only in the art works themselves, but the creative process they undergo in the studio. Materials are blended with thoughts and reshaped to find their expression.

As in the studio, so in the artwork.

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