Brian Eno - 'What is Art actually for?’

James Colin Bellaney (@james_bellaney) • Instagram photos and videos

James Colin Bellaney (@james_bellaney) • Instagram photos and videos:



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EXHIBITIONS

2008  “VEIWS ON DEATH”, Old ART CENTER, Dunedin
2008  “Ten Day Boutique” NONE Gallery, Dunedin
2009  “Ten Day Boutique” NONE Gallery, Dunedin
2010  “TURANGAWAEWAE”, Modaks Cafe, Dunedin
2010  “Natural Landscape, Paintings and Performance”, NONE Gallery, Dunedin. (solo) 2010  “Te Kanano O Mahitoi, Maori Art Exhibition”, Tangente
Cafe, Dunedin
2010  “Reflections”, Tangente Cafe, Dunedin
2010 “Dislocation”, House of Taonga Salon, Auckland. (solo)
2010 ”Thought for Self”, NONE Gallery, Dunedin. (solo).
2010 “Small works”, Flax Cafe, Dunedin
2011 “Celebration of creation”, Matariki Dunedin. Community Gallery. (Solo Paintings and performance).

2011 Art and Law V, Law Faculty, Dunedin university.

2011 “Without hope, Without fear”, Dowling st studio

gallery.

2011 “Out of the either” Modaks cafe, Dunedin.(group show)

2012 “Art in practice” Otago University Medical School Office, Dunedin. Currated by Peter Stupples. (solo)

2012 “Working in the shadow” A GALLERY, Dunedin. (Group show)

2012 “Clifton’s art awards” Wellington.(Group show)

2013 “Te ao marama” Matariki festival, South Dunedin (Public art)

2013 “White night” Dunedin white night, Bruce gallery project space, Dunedin. (Group show)

2013 “Caravaggio show” Mint gallery Dunedin, Dunedin. (Group show)

2013 “ National Contemporary Art Awards, Waikato Museum, Hamilton. (Group show)

2013 “Reduction of a deity” Fringe festival, Dunedin Community Gallery, Dunedin. (Solo exhibition and performance)

2013 “The recent violence he represents comes to be emotional simplicity” (works on paper), Mint Gallery Dunedin, Dunedin. (Solo).

2013 “Art in practice, Neurology and Art collaboration”, Otago University Hunter Centre, Dunedin

2013 “POUR” none Art Gallery, Dunedin. (Installation)

2014 “OIL ON CANVAS (anti oil drill auction)” Community gallery. Dunedin.

2014 “Flux” Mint Gallery, Dunedin (Collaboration with Murray Eskdale)

http://jamesbellaney.com/

Reduction of the Deity — Artist Events — Dunedin Fringe Festival 2013

Reduction of the Deity — Artist Events — Dunedin Fringe Festival 2013:

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What does painting mean for me, 05/06/2012

performance at blue oyster

''The recent violence he represents, come to be emotional simplicity'', James Bellaney (Mint Gallery) 8 Feburary 2013.
Maori cosmology provides the spark of inspiration for a series of abstract works by James Bellaney at Mint Gallery.
The protagonists of the Maori creation myth are the earth and sky, Papatuanuku and Ranginui, pushed apart by their son Tane, along with Tawhirimatea, the weather god, whose constant winds are evidence of his anger at what his brother Tane has done. Hine-nui-te-po, goddess of the underworld and sunset is also evoked in these paintings.
The mixed-media pieces, which have watercolour as a main element, use an effective limited palette of earth tones, blacks, and whites. Highlighted elements in bright red provide some needed colour to the works. These are colours which reflect both the mud and stone of newly-formed earth and the traditional colours of pre-colonial Maori art. A constant element in the works is the circle, its strong, complete form indicating the cycle of life and of karma, and also of the oneness of all creation.
An aleatory element has been introduce to the works by means of using a cut-up technique to arrive at the titles of the paintings and of the exhibition itself. In this way, viewers can read into the titles whatever they wish, potentially colouring their views of the works' natures.

by James Dignan
published in the Otago Daily times. 14 February
http://www.odt.co.nz/entertainment/arts/245637/art-seen

My artist statement for the show.

The recent violence he represents, come to be emotional simplicty.

I love the process of the painting with watercolors, the reaction of the medium together with the surface. Watercolour forbids me to claim anything as a mistake. Every organic mark made on the page reveals a history, evolving into a finished work that is raw and visceral. Patience and acceptance is itself an imrpotant part of the process.

The title of this body of work was discovered through the process of cut up words from a random art article, shuffled and simplified.

With the colours I want to emthasize time and earthly elements such as earth, water, wind and bone. Reflecting the emotional content of Patatuanuku and connecting the personal potential inspired by the hidden, dark inner worlds. These are places not only of death but also of beginning. They are places of refuge for 'Hine Nui Te Po', (Goddess of the underworld) who resides in shame, and 'Tahwhiamatea'(God of the weather) who bears a constant grudge against his brothers. Also Tane, who split the Mother and Father allowing light and revealing all. I am also inspired by Dante's Inferno and his descent into the underworld.

By James Bellaney
Artist

Tohunga ta whakaahua whenua

James Bellaney, up and coming local Dunedin artist is coming to Mint Gallery. His exhibition 'Tohunga ta whakaahua whenua' opens Friday 13th July and runs until August 2nd. 'Tohunga ta whakaahua whenua' meaning 'landscape painter' will consist of large scale abstract paintings by James which will take up the whole of Mint Gallery until the begining of August. Mint Gallery warmly invites you down to have a look at these visually impacting pieces during the three week period. We hope you can make it :-)

ART REVIEW BY HANA AOKE

expression. Thursday, July 29, 2010 James Bellaney These are pieces from my favourite Dunedin-based artist, James Bellaney. Bellaney is a fourth year painting student at the Dunedin school of art. Stylistically, Bellaney’s work is reminiscent of the intimacy felt in Surrealist automatism, American action painting and Abstract Expressionism. This is evident from the quality of his work, which has the appearance of being somewhat considered, yet spontaneously gestural and improvised. Bellaney’s creative process involves methodically moving the paint by means of splashing, staining, stumbling and dripping across the working space. Often it appears as though he is using seemingly random tools, as opposed to the more traditional paint brush.Upon viewing him work, his figure is reminiscent to that of to Hans Namuth’s photographs of American Abstract expressionist, Jackson Pollock. Bellaney, not dissimilar to Pollock and other artists, such as transgressive artist Vito Accohi, Australian artist Dale Frank, Paul McCarthy, Pablo Picasso (particularly the film featuring him paint on glass) and many kinetic sculptors use art to convey ranging emotions and subsequent reflections upon their individual lives. However Bellaney’s pieces have a quintessential spiritual quality, which I believe is apparent because of his Maori heritage. This sense of spirituality I would liken to not only his works kinetic flow of energy (a reference to music and surfing), but also the strongest of his influences comes from his own environment, nature. As a sense of the calming waves and aggressive internal conflict merge together to create a chaotic rhythm of his perceptions of his own environment and sense of identity. N.B. 1. A Hans Namuth portrait of Jackson Pollock (1950), http://www.npg.si.edu/exh/namuth/pol3nam.htm 2. Bellaney at his performance-based exhibition at none gallery earlier this year 3. Piece from the collection, 'Natural landscapes' 4. Piece from the collection, 'Corrosion' Posted by Marrow Magazine at 8:00 PM

ARTIST CHRONOLOGY

James Bellaney, Art CV
jamesbellaney@hotmail.co.nz
Cell-0277531933
Home ph-(03)4780009
Address-4 Tidewater st, Portobello, Dunedin.
BORN Hastings, New Zealand, 1980
CURRENTLY Studying for BFA, Forth Year
SELF LEARNING, GAINING INSPIRATION THROUGH, WALKIING THROUGH SOUTHLAND.

EXHIBITIONS 2008, “VEIWS ON DEATH”, Old ART CENTER, Dunedin
2008, “Ten Day Boutique” NONE Gallery, Dunedin
2009, “Ten Day Boutique” NONE Gallery, Dunedin
2010, “TURANGAWAEWAE”, Modaks Cafe, Dunedin
2010,”Natural Landscape, Paintings and Performance”,
NONE Gallery, Dunedin. (solo)

2010, “Te Kanano O Mahitoi, Maori Art Exhibition”, Tangente
Cafe, Dunedin
2010, “Reflections”, Tangente Cafe, Dunedin
2010,”Dislocation”, House of Taonga Salon, Auckland. (solo)
2010,”Thought for Self”, NONE Gallery, Dunedin. (solo).
2010,”Small works”, Flax Cafe, Dunedin
2011, Matariki ( Celebration of creation), Paintings and
and performance. Community art gallery. (solo).
201,1 Art and Law V, Law Faculty, Dunedin university.
2011, “ Without hope Without fear”, Dowling st studio
gallery.
2011 “out of the either” Modaks cafe, Dunedin.

COLLECTIONS HOUSE OF TAONGA Salon, Tracey Tawhiao, Auckland
Blogg http://jamesbellaney.blogspot.com/2010_05_01_archive.html

Without Hope. Without Fear | The Big Idea | Te Aria Nui

Without Hope. Without Fear | The Big Idea | Te Aria Nui:

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ART IN LAW V

http://www.otago.ac.nz/law/news/Law%20Art%20Programme%20V%20March%2011.pdf

James Bellaney - Natural Landscapes | Critic.co.nz

James Bellaney - Natural Landscapes | Critic.co.nz:

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James bellaney Artist statement 2011

James Bellaney Artist Statement Process is the chief aspect of my work. Even if the work turns out to be bad from my point of view then it would be like having an inevitable bad moment in life, that it is what it is and the best thing to do is learn from it. The process can be seen as an expression originating in a combination of aggressive and delicate marks and forms. Paint and painter are friends who have an intimate relationship, often struggling against each other, like so many relationships, but sync together to make a harmony of brilliance, action and even horror, revealing each other’s truths and histories through the contrast of their interactions. I find paint a medium for transcendence, I love its hypnotic elements, the way color and the mediums, especially house paint, react against another. I situate my work within the western history of painting and Maori spirituality. I am fascinated with the immediacy of abstract artists such as Clifford Still, Robert Motherwell and the temperament and energy of Van Gogh and Pollock that goes into their work. Other more contemporary artists that I find interesting are Katherine Grosse, Bill Sampson, and James Robinson, Dale frank, Tony Tuckson, and Judy Watson.

I am of Maori descent which means I cannot help but identify with a spiritual connection to nature, and its creation. I explore the analogies in abstract imagery of the Maori concept of 'IO' ( the Great Nothing and the Great Everything that means that from nothing comes everything) within my work. The creative acts of IO: that is, Te Korekore( of potential being), Te Po (the world of becoming)and Te O Marama( the world of being), and more, all co-exist within each organism, each one having a relationship with the other. Color and form in my paintings to the first and last mark all have similar relationships,

Artist statement of theory, aesthetics and political anylis

James Bellaney

. Theory I am not interested in presenting the real, but taken from Greenberg’s theory that painting should be paint and surface, and not hiding the fact that they are made out of such materials. .The surface is a place to orchestrate colours and forms in a compositional format announced by the frame of the canvas that enable a genuine sensory experience. My main theory is aligned with nature, and the metaphorical use of creation and my process in painting. Automatism stands for organism and my intuitive abstract imagery as an analogy of my Maori connection to the process of creation of nature. I connect well with what the surrealist philosophy contributed to the arts with automatism and the goal of liberation, my work does not depict hybrid animals or have the anxiety of Magritte’s dead flying birds but as in the clouds passing, my paintings allow the viewer to experience a process of metamorphism (what they see today they may not see tomorrow). Political In art today the imagery used in paintings is conceptual based. And for me this lacks enough ambiguity to keep me interested. Gerhard Richter’s portraits, blurred, but of people he knows or has known personally to tabloid photographs of high profile people to make each subject as important and unimportant as each other, that’s what I see, it wears off, I find his abstracts far more interesting and helpful. I find the portraits or symbols and signifier s or, putting it bluntly, boring, for me they do not hold enough ambiguity. And the fact that I have to look at some image of a pop idol or pop something or someone I might as well go back to the images of Jesus in persecution. Nothing much has seemed to change from the religious domination in art to consumerism's hierarchy in pop art to conceptual art. I see Painting that comments on the political suppression by the dominating factors in our society or cultures as not helping or up heaving any political stance. I don’t believe art changes the world. Picasso’s Guernica, 1937 as now holds a strong position in history painting with the bombing of Guernica, but didn’t change the situation. I line my painting with that of passing clouds or the allure of a bomb fire or moving water, my work is based on the process, being not of this world, but of the human minds capability to be in itself within the moment. I paint abstractly for the reasons of my surroundings being already over thrown by imagery, basically I feel there is enough out there already. And that the images portrayed are neither helpful nor honest (i.e. the fashion images that portray beauty or the sports icons exploiting to sell). My paintings are able to work against the norm of what a picture is, and could help de code the viewer of the mass imagery that has built up our a narrow perception of what we have coded our minds to see instead of just being, which has been lost in our fast moving civilisation. Painting has the ability to stay still while everything else is moving In the high tech world today with more responsibilities than ever there is still a place for autonomous art Aesthetics My idea of aesthetics is still aimed on beauty and the sublime and how chance, because nature I find naturally beautiful or sublime both positive qualities, is a process of nature, which is why I am attracted to the idea of using chance in my works because, even though chance applications over practice become predictable, offer excitement and allurement, which is a grasp away from the images that hang over us in the back of our minds. Imagery gets read in wrong ways, beauty being the main goal of achievement in art as a truth. Which when compared to media exploitation of women or sports hunks aesthetically beautiful but cannot be trusted in determining if that subject is good or not is not surprising. My art does not challenge the ideas of beauty but give the viewer a sensory experience similar to a sunset or bomb fire; it’s an escape away from the images that have been photoshoped to rid of the so called human imperfections.

Beauty and the Beast.

It had dreams of warmth and comfort
by a lady
that one source of affection
between the beast and decay.
dreams lost when.
woken up.
by selfish deeds of kin
turmoil in mind
silient cries
intwine.
the roaring tautuku
echos time
spoken to
whislting past, to slow,
unheard
just a chill
on bone
oh lady
forgive
the beast
with its burdens.
Beast maybe,
but love is true,
It weeps,
the sound of a wolf
no pack to hunt
soothed by roaring sounds.
cried to decay
It trust not one
for all it lost
it trust not you
reluctantly,
Lady, Beauty, Love of his.
With pain,
more anguish, with bitter twist
better descrbed,
how past echos cry
in that poor beasts mind.
it loves you
it loves you
that beast with burden of kind.

Auckland dislocation, nothing to lose..

.

I

Turanga waewae ' for me is am continous jouney through life.
A journey of self discovery and where i stand amongst others. Each individual creates these enviroments in which we either choose to stand or move.

I'd like to thank Tracey Tawhio for giving me this space in Auckland out of Dunedin for this dislocation exhibition,

and for introducing me to many cool people(her friends. all are inspirations.