Julian Opie
07 Jun - 28 Jul 2007
Julian Opie
This is Shahnoza
07.06. - 28.07. 2007
Exhibition opening: Wednesday, June 06th, 2007, 7–10 p.m.
We are pleased to announce the exhibition of new work by Julian Opie. This will be his fifth solo exhibition at Galerie Barbara Thumm.
This is Shahnoza. 2006
I had arranged to meet Clare in a pub on Cambridge Circus. She turned up looking very glamorous in a shimmering black evening dress. We drank gin and tonics and I smoked a cigarette even though I don‘t smoke. Clare looks after me at my London Gallery but we talked instead about her part time charity work. I think we were both a bit nervous about the evening‘s assignment.
A month before, Clare, my friend Paul and I had visited a „gentleman‘s club“ to look at pole dancers. My friend had turned white, I had forked out a lot of cash and Clare had taken down the names of the best dancers. Clare then contacted the club and asked if Bambi or Heather would like to do some modelling. Neither of them contacted the gallery and I was running out of time for the project. I had been asked to make a wall drawing for an art museum in Ontario. The room I chose was full of Henry Moore sculptures, mostly of reclining nudes. I thought it might look good if I placed my drawings of nudes behind the Moore‘s. The naked body has been depicted in many ways. I wanted to complement and contrast with the imposing, sedate and serious white sculptures.
My drawings up till then had been very vertical, posed and static. People naturally stand and are therefore vertical. If they sit or lie down, the bed or fl oor or chair become part of the image and have an impact on the body shape. It occurred to me that the only way to get a more dynamic pose while keeping the body free of any background was to use a pole for the model to hang from and lean against. The pole allows the body to be seen from various angles in various positions. I had not at fi rst intended to use the whole fi gure or to include the pole. Previous wall drawings had shown a small „slice“ of the body, blown up large, only just recognizable as a nude.
So anyway we headed off into Soho to look for a place called Raymond‘s Revue Bar. My last experience of a Soho club was back in the eighties with a trip to a transvestite cabaret club and it turned out that Raymond‘s had closed. So we wandered into the nearest strip club, which was much seedier than the up-market gentleman‘s bar that we had tried on the previous attempt. Every surface was painted matt black and the lighting was somehow dim but harsh. We paid a disinterested man who sat behind the counter and were sent upstairs to a small, private cinema like space. The stage was large, matt black, surrounded by mirrors and had three poles. Three girls danced. The central pole was the focus and that dancer was the most active. When she fi nished her dance and strip she would head off to the bar and the girls would shuffl e along a pole as a new dancer came on stage.
There was only space for two rows of red velvet seating and we slid into the back row. We sat for a while trying not to look at the other customers and focusing on why we were there. One girl was easily the best pole dancer that we saw and so once she had fi nished her number we went into the side bar and waited for her to turn up. I asked her to sit with us and Clare showed her some of my catalogues while I asked if she would be willing to pose for a couple of afternoons. She said yes, seemed very sweet and quite interested in the idea but not at all pushy, like: „ Sure, why not? Could be fun for a change“. She told us her name was Shahnoza and that she came from Tehran. She then went back on stage, it was hard to see where she could have kept the card that Clare had given her.
As we left the doorman took pity on us, told us we should not be wandering around that area and offered to take us by cab to a much more „appropriate“ club. „ You‘re from out of town right?“ He asked. This club was more pretentious. It had a leopard skin interior, lounge seating and waitresses. You had to check your coat and buy a drink. It is diffi cult to choose a model. Until I start drawing I don‘t fully know what I want of a project, so its hard to tell who will be good to draw, it‘s a matter of personality as well as body type. I focused on fi nding someone who could dance well and had hips. We had to buy a number of the incredibly expensive drinks before ?? had time to talk to us. Again we described the project and asked if she would be interested. ??? was also very nice, a bit more air hostess like but friendly and casual. She also said she would call.
A few days later I was giving up hope when Shahnoza called. We arranged a time and I gave her instructions on the type of clothes to bring, She said she would bring her own music. I had my assistant buy a dancing pole on the internet and he installed it in the space I use to photograph models. She worked harder than me but it was an intense and tiring two days with two video cameras and a stills camera all going simultaneously. It‘s important to give a model an idea of what you want but I fi nd that the best moves and positions usually come from the sitter. You have to guide and follow while dealing with the technical side as well ( I don‘t like anybody helping ). The music has to be right the fi lms and batteries changed, focus, camera angle, lighting, all while I try to remember what kind of positions I wanted to draw. We picked fi ve or six of the costumes that she bought and she spent a lot of time getting the outfi ts and accessories and even make-up right. We improvised a number of moves and dances and repeated them in each of the costumes. I took over a thousand photos and then did the same thing the next day but with her hair tied up and with more success.
Going through two thousand photos and hours of video is almost as much work as doing the drawings and I have to keep searching as I refi ne my ideas of what is working. As usual the fi rst attempts were unsuccessful. Too dependent on previous logics. I tend to loose heart a little as I fl ounder around until something seems to work. Eventually a simple format emerged. Four drawings of each oufi t in contrasting poses showing the whole fi gure and the pole that she moves around. I placed each pole under a ceiling beam to connect with the symmetry of the room in the manner of cariatyds. For this room I cropped the fi gures a little to achieve the scale necessary. Once a set of drawings are made I can play around with what I want to do with them. I draw on the computer over the digital photos. The drawings can be outputted in a number of ways. Here I have e-mailed the fi les to a vinyl cutter in Canada who used a computer guided knife to cut sheets of sticky backed plastic into shapes that are stuck to the wall. I intend to also make paintings of each pose, prints of each series of four outfi ts and maybe some animated dancing films.
Text: Julian Opie
This is Shahnoza
07.06. - 28.07. 2007
Exhibition opening: Wednesday, June 06th, 2007, 7–10 p.m.
We are pleased to announce the exhibition of new work by Julian Opie. This will be his fifth solo exhibition at Galerie Barbara Thumm.
This is Shahnoza. 2006
I had arranged to meet Clare in a pub on Cambridge Circus. She turned up looking very glamorous in a shimmering black evening dress. We drank gin and tonics and I smoked a cigarette even though I don‘t smoke. Clare looks after me at my London Gallery but we talked instead about her part time charity work. I think we were both a bit nervous about the evening‘s assignment.
A month before, Clare, my friend Paul and I had visited a „gentleman‘s club“ to look at pole dancers. My friend had turned white, I had forked out a lot of cash and Clare had taken down the names of the best dancers. Clare then contacted the club and asked if Bambi or Heather would like to do some modelling. Neither of them contacted the gallery and I was running out of time for the project. I had been asked to make a wall drawing for an art museum in Ontario. The room I chose was full of Henry Moore sculptures, mostly of reclining nudes. I thought it might look good if I placed my drawings of nudes behind the Moore‘s. The naked body has been depicted in many ways. I wanted to complement and contrast with the imposing, sedate and serious white sculptures.
My drawings up till then had been very vertical, posed and static. People naturally stand and are therefore vertical. If they sit or lie down, the bed or fl oor or chair become part of the image and have an impact on the body shape. It occurred to me that the only way to get a more dynamic pose while keeping the body free of any background was to use a pole for the model to hang from and lean against. The pole allows the body to be seen from various angles in various positions. I had not at fi rst intended to use the whole fi gure or to include the pole. Previous wall drawings had shown a small „slice“ of the body, blown up large, only just recognizable as a nude.
So anyway we headed off into Soho to look for a place called Raymond‘s Revue Bar. My last experience of a Soho club was back in the eighties with a trip to a transvestite cabaret club and it turned out that Raymond‘s had closed. So we wandered into the nearest strip club, which was much seedier than the up-market gentleman‘s bar that we had tried on the previous attempt. Every surface was painted matt black and the lighting was somehow dim but harsh. We paid a disinterested man who sat behind the counter and were sent upstairs to a small, private cinema like space. The stage was large, matt black, surrounded by mirrors and had three poles. Three girls danced. The central pole was the focus and that dancer was the most active. When she fi nished her dance and strip she would head off to the bar and the girls would shuffl e along a pole as a new dancer came on stage.
There was only space for two rows of red velvet seating and we slid into the back row. We sat for a while trying not to look at the other customers and focusing on why we were there. One girl was easily the best pole dancer that we saw and so once she had fi nished her number we went into the side bar and waited for her to turn up. I asked her to sit with us and Clare showed her some of my catalogues while I asked if she would be willing to pose for a couple of afternoons. She said yes, seemed very sweet and quite interested in the idea but not at all pushy, like: „ Sure, why not? Could be fun for a change“. She told us her name was Shahnoza and that she came from Tehran. She then went back on stage, it was hard to see where she could have kept the card that Clare had given her.
As we left the doorman took pity on us, told us we should not be wandering around that area and offered to take us by cab to a much more „appropriate“ club. „ You‘re from out of town right?“ He asked. This club was more pretentious. It had a leopard skin interior, lounge seating and waitresses. You had to check your coat and buy a drink. It is diffi cult to choose a model. Until I start drawing I don‘t fully know what I want of a project, so its hard to tell who will be good to draw, it‘s a matter of personality as well as body type. I focused on fi nding someone who could dance well and had hips. We had to buy a number of the incredibly expensive drinks before ?? had time to talk to us. Again we described the project and asked if she would be interested. ??? was also very nice, a bit more air hostess like but friendly and casual. She also said she would call.
A few days later I was giving up hope when Shahnoza called. We arranged a time and I gave her instructions on the type of clothes to bring, She said she would bring her own music. I had my assistant buy a dancing pole on the internet and he installed it in the space I use to photograph models. She worked harder than me but it was an intense and tiring two days with two video cameras and a stills camera all going simultaneously. It‘s important to give a model an idea of what you want but I fi nd that the best moves and positions usually come from the sitter. You have to guide and follow while dealing with the technical side as well ( I don‘t like anybody helping ). The music has to be right the fi lms and batteries changed, focus, camera angle, lighting, all while I try to remember what kind of positions I wanted to draw. We picked fi ve or six of the costumes that she bought and she spent a lot of time getting the outfi ts and accessories and even make-up right. We improvised a number of moves and dances and repeated them in each of the costumes. I took over a thousand photos and then did the same thing the next day but with her hair tied up and with more success.
Going through two thousand photos and hours of video is almost as much work as doing the drawings and I have to keep searching as I refi ne my ideas of what is working. As usual the fi rst attempts were unsuccessful. Too dependent on previous logics. I tend to loose heart a little as I fl ounder around until something seems to work. Eventually a simple format emerged. Four drawings of each oufi t in contrasting poses showing the whole fi gure and the pole that she moves around. I placed each pole under a ceiling beam to connect with the symmetry of the room in the manner of cariatyds. For this room I cropped the fi gures a little to achieve the scale necessary. Once a set of drawings are made I can play around with what I want to do with them. I draw on the computer over the digital photos. The drawings can be outputted in a number of ways. Here I have e-mailed the fi les to a vinyl cutter in Canada who used a computer guided knife to cut sheets of sticky backed plastic into shapes that are stuck to the wall. I intend to also make paintings of each pose, prints of each series of four outfi ts and maybe some animated dancing films.
Text: Julian Opie