In a way, this series is like a greatest hits album. Of course, I’d prefer to sit with someone in a room for the sake of being able to really see, but the conversation or even silence—the company of it—makes a vast difference to the end product. But in isolation each is as distinct and individual, and intimate, as a conversation. |
I need to come up with a personal way of approaching nudes, and then I’ll do that. The exhibition. —I thought about that a lot, but although they are small paintings, they are over life-size for eyes, and a full portrait would be quite huge, really monumental. Sandro Kopp was born in Heidelberg, Germany in 1978 – his zodiac sign is said to be Aries and he holds both German and New Zealand nationality. My interest in portraiture initially came out of wanting to do better faces on my nudes. It was just this real sense of, Ok, this is what I’m supposed to be doing. —Do you recall a moment that defined your calling as an artist?
There’s a famous Samuel Beckett short play, Not I, in which the entire action is distilled to a simple spluttering mouth.
Then the faces just became more interesting for me. , at the gorgeous Palazzo Grimani Museum in Venice, the artist Sandro Kopp, has created something similar with the eye—abstracting it from the human face in order to amplify and deepen our relationship to it. The alchemy of two people in a room together is central to Kopp’s method—he resorts to photos only to complete a painting—and the eyes are no different. domicile or residence. Here he painted and exhibited, as well as teaching at an art school in Wellington.He has appeared on screen in a few roles and shot the still photographs for several movies as well as contributing to other departments on films. Seen together, the eyes, 116 of them in total, become a silent, staring crowd. The works are presented in an installation designed in collaboration with and produced by Alfonso Architects, Florida. —Were you ever tempted to continue and fill in the rest of the face? Here, Kopp talks about inspirations and muses, and how a painting can create presence through absence. Sandro is a visual artist, but perhaps best known for being the husband of Tilda Swinton, a famous British actress. Sandro—Lucien Freud is someone I admire greatly, and there’s the Swiss painter, Ferdinand Hodler, who was a contemporary of [Gustav] Klimt, and I literally stole stuff from him: the particular type of pigment that he uses to create dark shadows, and which gives this wonderful fleshiness. “A lot of my studio time, if I finish working at two in the morning, I’ll usually spend another hour just looking at stuff, which is crucial because I get to know these new beings in the world, and I get to understand what they need to take them further.”. I feel I need to find the chink in the armor of what everyone else has done, especially working from life, because there are only so many ways that somebody can hold a pose for three hours and they’ve all been done, like a million times. That’s what captures your gaze. As the writer and curator Jasper Sharp puts it in an accompanying essay, “What we are and will become often begins with the eyes; it is here that love first takes hold, that envy seeps in, that we put together the pieces of the jigsaw that forms the world around us.”.
But the eye, in particular, feel like the ultimate vehicle for capturing what’s essential about your sitters. Aaron—Who are the artists that serve to inspire and guide you? The information on this web site does not constitute an offer for products or services, or a solicitation of an offer to any persons —There’s something about this gilding process that immediately makes it feel historical. But the eye, in particular, feel like the ultimate vehicle for capturing what’s essential about your sitters. PRESENT. Childhood and education. If you look carefully you see reflected in them the room in which they were painted, sometimes even the shadow of Kopp himself, held for eternity in the center of the pupil. Every one of the sitters is someone I admire, and I think that in turn is where the gold leafing comes in because it does feels as if there’s an elevation of that person’s presence in that. And if you look at a portrait, you’re usually drawn to the eyes. Seen on. There is nothing hurried in his work, which is about accumulation—of layers, of details—and of contemplation and conversation. The locales of the sittings can be gleaned by carefully studying the reflection in the irises, which often include a tiny silhouette self-portrait of the painter as well as the environment of the sittings. Official Sites, In a relationship with Academy Award winning actress, View agent, publicist, legal and company contact details on IMDbPro. Each painting is a portrait of a single eye of one of the artists friends and family, painted from life over the course of the past two-and-half years. After a while it seems as if it must have jumped off the face to which it belonged and developed a life of its own.
Sandro—I remember the first time I did life drawing. “In a way, it’s about the moment of sitting together, looking into someone’s eyes,” says Kopp. What’s the alchemy of the subject sitting in real time that makes it work for you? The paintings were made in many different locations, all over the world: mainly in Kopp’s studio, but also in hotels and cafés, in parks and gardens. Seen together, the eyes, 116 of them in total, become a silent, staring crowd. It’s like skipping all the other wonderful tracks on the albums and making a compilation of the greatest hits of the portraits of all the people I like. —It’s very much about human connection and about presence, and about a mediation of presence, which all my work is about. In his show ‘mEYEcelium’ the artist uses portraits of eyes to capture the lingering presence of his friends and loved ones. —All your work is about family, friendships, love—these feel like the great themes of your paintings. So, it’s also like those fragments of sculptures or paintings that have survived, with just a fragment of the body, but which convey the presence of the whole thing in the part.
It’s about creating something lasting out of this moment. In his new show, mEYEcelium, at the gorgeous Palazzo Grimani Museum in Venice, the artist Sandro Kopp, has created something similar with the eye—abstracting it from the human face in order to amplify and deepen our relationship to it. Aaron—In many cases the eyes are embellished or encircled by gold leaf. I was so focused I stopped breathing—I forgot to breathe. What was the impetus for that? Sandro—I thought about that a lot, but although they are small paintings, they are over life-size for eyes, and a full portrait would be quite huge, really monumental. Of course, I’d prefer to sit with someone in a room for the sake of being able to really see, but the conversation or even silence—the company of it—makes a vast difference to the end product. HP Garcia Gallery, New York, November 2007 Junge Kunst 69, Heidelberger Kunstverein, Germany, June 2007, The National Portrait Gallery, London, BP Awards. What have those eyes seen, what can they tell us? It conveys all these things much more than a color would. That’s what captures your gaze. Technically he’s someone I very much lean on. In his new show, mEYEcelium, at the gorgeous Palazzo Grimani Museum in Venice, the artist Sandro Kopp, has created something similar with the eye—abstracting it from the human face in order to amplify and deepen our relationship to it. In 2000, he moved to New Zealand, his mother's home country. —I remember the first time I did life drawing. Aaron—Do you recall a moment that defined your calling as an artist? Sandro Kopp was born 1978 in Heidelberg, Germany, of New Zealand and German descent. There’s a famous Samuel Beckett short play, , in which the entire action is distilled to a simple spluttering mouth. - IMDb Mini Biography By:
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