‘Corrinne Terrace’ by Ian Strange was created in 2011. Strange is an Australian, New York based artist whose work relates to the themes of identity and home. The ‘Suburban’ collection features a series of eight abandoned suburban houses which have been transformed by spray painting specific shapes and patterns over particular sections of the houses. Some houses have been repainted using a single colour, and in one case, set on fire. The image depicts a house which has been painted black with the exception of a white circle which has been left from when the house was previously painted. The main theme and meaning behind Ian Strange’s “Corrine terrace’ is home. The house is a painting along with a documentation transforms an image of suburban architecture into something much more. The reaction of the viewers is to the icon of the home, not …show more content…
the house itself. His collection of images challenge the idea of a family home as a place of warmth and safety by painting them into something they are normally not. Strange is trying to convey his own relationship with the suburbs. Not everyone has the set opinion that Ian Strange has, so many mixed emotions are explored through his collection. Many ideas can be produced when looking into Strange’s work, because it can have a vast amount of meaning to each individual photograph. This photograph for example could represent the harder and darker years of a teenager (Ian Strange reflecting on his childhood) and show that there is always hope, a way out of situations. It could also suggest for people to always look at the positive things, even if you are surrounded by negatives (the black represents the negative and the white represents the positive). The image has a sense of loneliness and isolation, but the white circle situated in the middle creates hope. The white circle is the main focal point, and it creates a positive vibe. This photograph allows the viewer to reflect back on an aspect of their life that they do not necessarily like and think of what got them through that time. The black could symbolize death and the white even heaven. In reality this could imply what that suffer from death go up into heaven and have a happier time up in a place where they are relieved from what they were suffering from. When looking at this image, what first comes to mind is a burnt down house, like there was a scorching fire because the colour which is painted the colour of fire ashes. The colour of the image is a charcoal black where a white section of the house it located in the middle with a camel roof.
The house is surrounded by green grass which makes the image more realistic and the trees in the background and the tree in the foreground create a sense of depth. The image is quite well spaced out, due to a vast amount of area situated between objects. There is a visual equality in the symmetrical image. There is a contrast between the colours of the image to draw attention to the house. The image looks to be taken in the dusk of the afternoon, where there is not much natural light, which creates a darker tone. The main emphasis of the image is the house, which seems to be quite different when the image is first seen by a viewer. The texture helps emphasize the main focal point seeing though it is quite smooth, the colour also creates a mood towards the image and atmosphere in the image. The line helps develop structure due to the tone being a medium darkness. In some places (the area surrounding the house) is a degree lighter and shadows are present to help form the line throughout this part of the
image. The ‘Corrinne Terrace’ is a digital print, which is 110.4 x 165.5 cm. Strange has used numerous techniques and processes to create this image. From spray painting the entire house in a bold colour to creating a dramatic approach leaving a circle of the original painted house directly centered in the middle. Strange has purposefully painted the house a moody colour, to accentuate his darker teenage past. If the house was painted a more vibrant colour, it would mean that he had happier teenage years. The vibrant colours around his house could suggest that when he was not home he was having the time of his life, but as soon as he set foot in the house he was unhappy.
The author illustrates the “dim, rundown apartment complex,” she walks in, hand and hand with her girlfriend. Using the terms “dim,” and “rundown” portrays the apartment complex as an unsafe, unclean environment; such an environment augments the violence the author anticipates. Continuing to develop a perilous backdrop for the narrative, the author describes the night sky “as the perfect glow that surrounded [them] moments before faded into dark blues and blacks, silently watching.” Descriptions of the dark, watching sky expand upon the eerie setting of the apartment complex by using personification to give the sky a looming, ominous quality. Such a foreboding sky, as well as the dingy apartment complex portrayed by the author, amplify the narrator’s fear of violence due to her sexuality and drive her terror throughout the climax of the
For example, he uses texture, color and organic forms to make the landscape look as real as possible. Most of the shapes are formed by shifts in colors and line because the canvas are two-dimensional. The viewer can observe that the painting is dominated by greys, browns, ochers, and other natural colors such as green and yellow to give the scene a more nature-like look. All the components and objects painted in this piece appear to have the same texture and color as the ones found in real life, such as rocks suggesting a rough hard texture and clouds being soft, which probably means that Vernet took in consideration real landscapes and places he might have seen in real life. While using different shades of grey, and painting dark clouds, Vernet was able to convince that a storm was approaching but he also decided to add source of light coming from the upper left corner by using a golden yellow color to create a sense of warmth, which creates a nice contrast between the light and the coldness from the overall shadows that seem to dominate the artwork, creating variety; however, the repetition of colors such as greys gave the whole piece a sense of unity and they also express the shadows of a stormy day. We
Additionally, Lie placed tall trees in the foreground of the painting to give a sense of the scale between the observer’s perspective and surrounding objects. Furthermore, Lie used dark, cold colors, such as purple, blue and black, to depict the feeling of a winter’s afternoon. Lie also used snow on the ground as an obvious indicator of the time frame in which the painting is occurring. However, in contrast to the dark cold colors used, Lie also used subtle hints of orange, yellow and red to show that there is some presence of light in the piece. The background of the painting is a sheen of yellow, suggesting the presence of light and the forming sunset.
They might not be very prominent, but they exist the painting and serve as the base for creation. For starters, the window pane contains lines that highlight its simple design. Simplicity remains as the core of this work. Moreover, sill is roughly represented by a thick brown line underneath the window as a boundary in a quietly brilliant fashion. The work has a wonderful color allocation to express the mood. The color is limited within the muted palette color range. Grey—the intermediate color of black and white, is the dominate color for both exterior view and the interior part, as a matter of fact, the observer notices that nearly all colors are mixed instead of natural this work. The cloudy sky corresponds to the grey color of the wall, yet the brightness is not influenced. However, this consistency has successfully created a cold, grave and silent environment for a crowded place such as New York. The whole environment of this painting seems to be surrounded by the negative and depressive
The focal point of being the mother and appear to be true to size. In comparison, the apple, the trees and landscape in the in the distance are all represented to be true to size based on this perspective. The women being bare foot along with the child who is naked provides unity to painting as they are part of the natural landscape. All of this, gives the viewer the impression that this is a realistic picture.
At the left-bottom corner of the painting, the viewer is presented with a rugged-orangish cliff and on top of it, two parallel dark green trees extending towards the sky. This section of the painting is mostly shadowed in darkness since the cliff is high, and the light is emanating from the background. A waterfall, seen originating from the far distant mountains, makes its way down into a patch of lime-green pasture, then fuses into a white lake, and finally becomes anew, a chaotic waterfall(rocks interfere its smooth passage), separating the latter cliff with a more distant cliff in the center. At the immediate bottom-center of the foreground appears a flat land which runs from the center and slowly ascends into a cliff as it travels to the right. Green bushes, rough orange rocks, and pine trees are scattered throughout this piece of land. Since this section of the painting is at a lower level as opposed to the left cliff, the light is more evidently being exposed around the edges of the land, rocks, and trees. Although the atmosphere of the landscape is a chilly one, highlights of a warm light make this scene seem to take place around the time of spring.
The section set in Brisbane is seen through the eyes of a young boy, giving the reader a very clear impression of his views about and feelings towards the house. Malouf has conveyed this by basing 12 Edmondstone Street on the idea of
...hese repeated vertical lines contrast firmly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, seems unchanging and flat, whereas the foreground and middle ground of the painting have a lot of depth to them.
How can a person reach back into the past and retrieve the criminal events of sixty years ago? Read the works provided in “Art from the Ashes,” and wait; wait for words to explode onto an emotionally unprepared mind with enough force to awaken previously dormant areas of one’s psychological capacity. One can then begin to understand. Lawrence L. Langer’s introduction provides keys to open doors of impossibility, to expand sympathy, and to venture into the dark corners of an individual’s capabilities. He reminds us not to mistake true experiences for “an alien world of fantasy” or to look for triumph of love over hate (Langer 4). The stories he has selected for this anthology “gaze[] into the depths without flinching” (Langer 5). They must also “discover and accept the twisted features of the unfamiliar without searching for words, like ‘suffering’” (Langer 6). His main principals of selection, however, include “artistic quality, intellectual rigor, and physical integrity of the texts.” The works chosen by Langer must be academically appealing but still be able “to liberate responses on the deepest levels of psychological, mental, emotional, and aesthetic concerns” (Langer 8). The following stories represent the approaches and difficulties put forward by Langer: “The Key Game” by Ida Fink, “Spring Morning” also by Ida Fink, and “Poem About a Herring” by Abraham Sutzkever. In these works, characters yearning to exist fully are placed in critical situations where they are always faced with the constant anticipation of death. The striking shortness of time is an always present force facing the characters.
Negative experiences of belonging within the individual’s place of residence results in low self-esteem and develops the desire to escape and seek belonging elsewhere. We witness this in Herrick’s The Simple Gift in Longlands Road, when Billy says, ‘this place has never looked so rundown and beat’, which conveys his lack of connection to the place through pejorative colloquial personification of place. The “rundown and beat” nature of “place” parallels Billy’s perception of both himself and his home by using the pathetic fallacy of rain. Moreover, his hatred towards “Nowhereville” is expressed using coarse language and the symbolic action of vandalising the houses of his neighbours with pejorative colloquialism in ‘I throw one rock on the road of each deadbeat no hoper shithole lonely downtrodden house.’ This shows the place of residence is an important influence on creating a sens...
There is a lot of repetition of the vertical lines of the forest in the background of the painting, these vertical lines draw the eye up into the clouds and the sky. These repeated vertical lines contrast harshly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, is quite static and flat, whereas the foreground and middle ground of the painting have quite a lot of depth. This static effect is made up for in the immaculate amount of d...
The story starts out with a hysterical.woman who is overprotected by her loving husband, John. She is taken to a summer home to recover from a nervous condition. However, in this story, the house is not her own and she does not want to be in it. She declares it is “haunted” and “that there is something queer about it” (The Yellow Wall-Paper. 160). Although she acknowledges the beauty of the house and especially what surrounds it, she constantly goes back to her feeling that there is something strange about the house. It is not a symbol of security for the domestic activities, it seems like the facilitates her release, accommodating her, her writing and her thoughts, she is told to rest and sleep, she is not even allow to write. “ I must put this away, he hates to have me write a word”(162). This shows how controlling John is over her as a husband and doctor. She is absolutely forbidden to work until she is well again. Here John seems to be more of a father than a husband, a man of the house. John acts as the dominant person in the marriage; a sign of typical middle class, family arrangement.
In terms of composition, this painting is well balanced especially in the background. First, because of the three figures form a triangle shape, and second, the background is divided into two big triangle shapes, because the left bottom side brighter than the upper right side. The big shape of tree also divides the background as triangle shapes; therefor the viewer can more easily recognize the boundary between the light and dark side. For example, the trunk of the right side makes a vertical line following the darkness, and a big branch divides the bright side and dark side as a diagonal demarcation line.
In the poem “One Art” the thesis statement declared in the first stanza, on the first line as “The art of losing isn’t hard to master” also repeating it again in line 6 and 12. The statement is better interpreted as “The skill of losing is not hard to attain”. Bishop speaks in the poem as if she has successfully mastered the skill of losing. She also goes around in circles admitting that the art of losing is not hard to master as if that is what she is making herself believe is true. She is also helping the reader create a habit as the reader reads and repeats the refrain of “The art of losing isn’t hard to master” not to mention the line 4 where she tells the reader to make it a habit to, “Lose something every day”.
The most emphasized part of this image is the man lying on top of the child and leaning against the bed, part of the body being directly in the center and seems to take up the most space, this is where the eye tends to linger. The negative space is made interesting by including a turned over chair, and rumpled sheets on a bed and other homely objects, which indicates that this is set in a home. The contrast that is shown in this artwork is through the use of value since Daumier used implied light, the brighter and darker areas create a contrast against each other. While this piece is not symmetrically balanced, it is balanced asymmetrically. It is asymmetrically balanced through a man and most of a bed being placed in the center, on the right is a small child, the upper torso of an older looking man, a chair next to him, and the rest of the bed; on the left of the man is most of what seems to be a woman, and other less detailed furniture. There is a sense of repetition through the positive shapes of the people lying on the floor, this is also shown through the use of line that creates the entire lithograph. This provides a sense of cohesiveness and unity throughout the