Calligraphy art workshop with ASOBO LAB in Berlin

Ausstellung und Workshops:

ASOBO LAB  CHIAKI WATANABE

Calligraphy art workshop with ASOBO LAB in Berlin

Erkunden Sie die Dynamik von Pinsel und Tinte auf Papier und gestalten Sie zeitgenössische Kalligraphiekunst mit traditionellen japanischen Shodo- und Sumi-e-(malen mit Tinte) und -Techniken.

Explore the dynamics of brush and ink on paper, and make contemporary calligraphy art using traditional Japanese Shodo and Sumi-e (ink painting) tools and techniques.

CHIAKI (the mastermind of ASOBO LAB)
Visual artist/designer with background in painting, photography, graphic design, and motion graphics, and theatrical set design.
Finds beauty in hands on art. Favorite materials: paper, clay and threads.
On a mission to get more children and adults working with their hands and nuture their creativity.
From Tokyo and New York – based in Copenhagen for now.

School of Visual Arts (BFA Digital art) NY, USA,  Aalborg University Copenhagen (MsC Interaction Design/Medialogy) Denmark,
Musashino Art University (Scenograpy/spacious planning design) Tokyo, Japan.

TERMINE:

Mittwoch, 27.03  :     15:00 – 16:15h  & 16:30- 17:45 h

Donnerstag, 28.03:  15:00 – 16:15h & 16:30 – 17:45 h

asobolab.net

https://www.facebook.com/asobolab1/

Drawings by Jill Colchester

March 29,      16.00 – 22.00, Vernissage:      20.00 – 22.00

March 30,      14.00 – 20.00

As a trained dancer Jill is particularly drawn to the lightness of being, of fleeting movement and the grace, of dancers. This elusive quality is what she tries to find with line. She works with models who will hold poses for a brief amount of time, changing to another, often at will. The unknown time constraint causes her to work gesturally and minimally, giving rise to a dynamic line quality. The drawings of the poses are laid over each other, challenging the viewer to see the figure this way or that.

With Looking At You, Jill is asking whether we are viewing the model in a celebratory way, appreciating her female agency, or are we viewing her in a possessive, predatory way?

Historically the female model was passive, eyes cast down, non-confrontational. In a few paintings, Manet’s Olympia and Goya’s The Naked Maja, the model looks directly at the viewer. These were shocking for their time.

Today, in the current climate of consent and Me Too, the model holds our gaze.

Is she provoking or inviting?