Here's the video made by the Tate about the drawing I was part of making, with artist Alan Johnston, on the ceiling of the new cafe space in the new, refurbished area of Tate Britain.
"He and his assistants spent 2 weeks lying flat on their backs as they delineated a painstaking lattice of pencil mark. At first glance Tactile Geometry looks like a falling shadow. Only when you approach it closely is the secret revealed. Johnston talks to TateShots about his process and intention."
“For a while in the eighties, I lived with my father in Manor House and worked as a projectionist at a porn cinema in Kings Cross. It was called The Office Cinema, so guys could call their wives and say, ‘I’m still at the office.’” recalled Bob affectionately, “Every day, I travelled to Kings Cross and back. Coming home late at night, it was like a party and I felt the tube was mine and I was there to take pictures.”
An article on Complex.com highlighting how the streetwear brand 'Supreme' are suing a young woman for incorporating their logo in her own t-shirt designs, and the fact that they themselves obviously highjacked their identity from famous conceptual artist Barbara Kruger - who, when asked for a comment by the website on the whole thing, replied with this message:
Murakami’s directorial debut tells the story of Masashi, a young boy who moves from an evacuation center to a small town where he dreams of feeding string cheese to jellyfish while talking to his deceased father. On the first day of school, Masashi discovers that every child gets his or her own remote-controlled Friend (with a capital F), including himself. The little spirit animal/golem-type creatures are part of an evil plot designed to suck up all the kids’ negative energy in order to summon a “supra-universal power,” and in typical Murakami style, there’s a wide range of fantasy creatures, from the utterly hideous to the unbelievably adorable. On one end, Masashi finds a slimy lizard-type thing and a six-legged monster with an anvil for a head; on the other, there’s a massive bunny called Luxor and the eponymous Kurage-bo, or “Jellyfish Boy” — Masashi’s own beloved Friend.
The film evokes primal emotions of childhood, such as irrational fear and profound sadness, while also recalling Japanese giant-monster cinema of the 1950s. Just as the older movies served as a visual commentary on post-World War II, radiation-fueled angst, Jellyfish Eyes addresses similar fears reignited after Japan’s earthquakes and tsunami of 2011.
(Takashi Murakami, known for his work - samples below - and collaboration with Louis Vuitton)
The house is built on a 1.5M grid module in all directions. This site is at a corner of the new residential area in Kanagawa, Japan. The space is composed of a solid cube of 9.0M x 9.0M x 6.0M and a cubic void of 4.5M x 4.5M x 6.0M. The hall, children's room and kitchen are laid out to surround the living/dining room on the ground floor. The bedrooms, walk-in closet and bathroom are located on the second floor. Each room of the interior space is connected through the void of the living room. And the void cuts off the sky as a geometric form, letting the sunlight inside. In this house, all events, the changes of the seasons, course of time, and human activity, are created through the void.