untitled (shimmer) equal

untitled (shimmer)  2012_03_31  pigment ink print on 100% cotton rag paper  8 1/2” x 11” (21.59 x 27.94)cm  open edition Matt Niebuhr West Branch Studio www.mattniebuhr.com http://shop.mattniebuhr.com

untitled (shimmer)
2012_03_31
pigment ink print on 100% cotton rag paper
8 1/2” x 11” (21.59 x 27.94)cm
open edition
Matt Niebuhr
West Branch Studio
www.mattniebuhr.com
shop.mattniebuhr.com

Offered as an affordable, open edition signed inkjet print.

USE SPECIAL HOLIDAY OFFER CODE:  ARTGIFT and receive half off any and all purchases  @  http://shop.mattniebuhr.com  (original drawings or prints)

Hurry! offer good through the rest of 2014…

Last promo (I promise) and then on to some newer work I’m excited to share with you all! – thanks for making 2014 a wonderful year!!  Visit http://mattniebuhrdrawings.tumblr.com

Happy Holiday and Best wishes to you in the New Year!

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untitled 2014_06_21

Image

Matt Niebuhr - West Branch Studio

untitled
2014_06_21
graphite on polyester drafting film
20 1/2″ x 28 1/2″ (52.1 x 72.4)cm
28 3/4″ x 36 3/4″ (73 x 93.3)cm framed
Framing: cherry wood with beveled mat
Matt Niebuhr
West Branch Studio
http://www.mattniebuhr.com
http://shop.mattniebuhr.com

newer accumulated linework…

untitled (lines)

Image

untitled (lines)

untitled (lines)

2014_03_02

graphite on polyester drafting film

36” x 23.5” (91.4 x 59.7)cm

Matt Niebuhr

West Branch Studio

www.mattniebuhr.com

shop.mattniebuhr.com

each and every one… making each one count – and yet one of only many… see the forest through the trees…

Matt Niebuhr – Drawings

Matt Niebuhr - Drawings

You are invited to see new drawings on exhibition at Stumptown Coffee Roasters – Division Street cafe, Portland, during the month of March, 2011 by artist Matt Niebuhr.

A wonderful thing about drawing a line is that it can be any number of things. One line is not necessarily any more important or informative than any other line. We might assign a line a representative value,  it may become symbolic. Line as an idea drawn, can be a beautiful thing in all of its imperfect representation. – Matt Niebuhr “

INFO:
Matt Niebuhr – Drawings
March, 2011
4525 SE Division Street
Portland, Oregon 97206
For those of you unable to visit,  I’ve made a special link to the works in the show, and as always,  I invite you to visit my website:  www.mattniebuhr.com for new work and updates.
…examining the threshold at which ordinary visibility ends and perception begins…

BP – plan “C”

untitled, (pipe, #1) 2010_03_04 charcoal on paper 30" x 43 1/2" by Matt Niebuhr

untitled, (pipe, #1)
2010_03_04
charcoal on paper
30″ x 43 1/2″
Matt Niebuhr

The oil spill continues this Memorial Day, 2010.  The plan of stopping the flow or “top-kill” of the out of control oil well in the Gulf has failed…

On to plan “C”.

Here’s to the hope that the cap / sleeve and new pipe to does the trick. (The drawing I made above,  made before any of this happened, takes on new meaning for me given the context of current events.)

There must be a public demand to ensure that we learn as much as we can from this event – and put that into service on existing and new wells…

What is the function of a window….(Raum)


Le Corbusier, “Cabanon,” Cap-Martin, 1952.
Credit: Bibliothèque de la Ville, La Chaux-de-Fonds/Fonds Le Corbusier

A photograph – overlooking the Eileen Gray House Cap-Martin…. The picture of the horizon – (can’t tell if this is from inside or outside) the Sea and the Sky – with encroaching trees. Simply a picture of the horizon framed by a wall with an opening onto the outside -supposed from the protection of the inside…

Below from:
Battle Lines E. 1027
Beatriz Colomina

Significantly, Le Corbusier describes drawing as the occupation of a “stranger’s house.” In his last book, Creation is a Patient Search, he writes: “By working with our hands, by drawing, we enter the house of a stranger, we are enriched by the experience, we learn.” [30] Drawing, as has often been noted, plays a crucial part in Le Corbusier’s process of appropriation of the exterior world. He repeatedly opposes his technique of drawing to photography: When one travels and works with visual things – architecture, painting or sculpture – one uses one’s eyes and draws, so as to fix deep down in one’s experience what is seen. Once the impression has been recorded by the pencil, it stays for good – entered, registered, inscribed. The camera is a tool for idlers, who use a machine to do their seeing for them.[31]

From the outset I am most interested in the conceptual idea of “space” as interpreted by the camera gaze…

What the word for space, Raum, Rum, designates is said by its ancient meaning. Raum means a place cleared or freed for settlement and lodging. A space is something that has been made room for, something that is cleared and free, namely within a boundary, Greek peras.

A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presencing. That is why the concept is that of horismos, that is, the horizon, the boundary. Space is in essence that for which room has been made, that which is let into its bounds. (Building Dwelling Thinking – M.H.)