Dillan Marsh
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Stop_Dreaming 2016-07-14
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Testament 2016-07-13
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Most_Things_Still_Remain_To_Be_Done 2015-07-15
Most things still remain to be done.
A glorious future!
The feeling of having finished something is an effective sleeping pill. A person who retires feeling that he has done his bit will quickly wither away. A company which feels that it has reached its goal will quickly stagnate and lose its vitality. Happiness is not reaching your goal. Happiness is being on the way. It is our wonderful fate to be just at the beginning. In all areas. We will
move ahead only by constantly asking ourselves how what we are doing today can be done better tomorrow. The positive joy of discovery must be our inspiration in the future too. The word impossible has been deleted from our dictionary and must
remain so... Bear in mind that time is your most important resource. You can do so much in 10 minutes. Ten minutes, once gone, are gone for good. You can never get them back. Ten minutes are not just a sixth of your hourly pay. Ten minutes are a piece of yourself. Divide your life into 10-minute units and sacrifice as few of them as possible in meaningless activity.
Most of the job remains to be done. Let us continue to be a group of positive fanatics who stubbornly and persistently refuse to accept the impossible, the negative. What we want to do, we can do and will do together. A glorious future!
The Testament of a Furniture Dealer, A Little ΙΚΕΑ Dictionary, Ingvar Kamprad
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Kardashian_Christmas_Card 2013-12-20
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Big City Big Opportunity 2013-04-28
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Frankfurt Messe 2013-04-25
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Untitled-2 2012-08-30
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super total documentation 2012-08-15
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expo67 2012-08-12
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tool manufacturer logos 2012-08-09
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MC-ONE-Mirage-IIIC-decal 2012-08-09
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70x100 Screen Print Edition 2012-05-15
Screen Print Edition in collaboration with Patrick Wagner/Handsome Boy Press.
Supported by Entree/Norsk-finsk kulturfond. 
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50x70 Screen Print Edition 2012-04-15
Screen Print Edition in collaboration with Patrick Wagner/Handsome Boy Press.
Supported by Entree/Norsk-finsk kulturfond. 
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logos[1] 2012-01-16
![logos[1]](./entries/logos[1].gif "logos[1]")
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fair stand basis 2011-12-31
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stand design-b-c-d series 2011-12-30
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adidasleosforusa 2011-11-16
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E Johansen review 2011-08-17
www.masterbloggen.no
Forfatter: Espen Johansen
Hver var blir et knippe studenter ferdige med mastergraden i kunst pa kunstakademiene og kunsthogskolene her til lands. Tradisjonen er at studentene viser eksamensarbeidene sine i en felles avgangsutstilling som ikke finner sted pa skolen, men pa et profesjonelt galleri. Masterbloggen har bedt masterstudenter i kunsthistorie ved universitetetene i Oslo, Bergen og Trondheim om a skrive en liten rapport fra masterutstillingen i deres hjemby. Forst ut er Espen Johansen, som har tatt turen innom utstillingen Pines & Powerlines i Bergen Kunsthall, der 24 studenter fra Kunsthogskolen i Bergen viser sine prosjekter. Utstillingen er allerede pakket ned, og nettopp derfor er det fint at Espen deler sin opplevelse av utstillingen og beskriver noen av verkene han likte aller best her pa Masterbloggen:
Det forste man opplever inne pa Bergen Kunsthall er avvisning. En slags barrikade, satt sammen av velbrukte, tilsynelatende tilfeldige elementer, er plassert like innenfor doren. Fra inngangspartiet skimter man noen ansikter over barrikaden, pa bakre vegg. Man blir fort nysgjerrig pa disse personene.
I verket, Tunings, av Sol Hallset, er den samme gutten gjengitt atte ganger i helfigur og i full storrelse (eller storre). To og to er de tegnet pa brede ruller av papir som holdes oppe av store klyper. De ulike tegningene er varierte til tross for at motivet repeteres, fordi Hallset forsterker ulike omrader med fargelegging og detaljrikdom i hver tegning. Gutten ser levende ut, og er gjengitt kjaerlig og personlig av en sirlig strek. Spesielt tegningen hvor gutten bryter den litt stive posituren og smiler bredt, vitner om et naert band mellom kunstner og motiv.
Corrina Thorntons verk, Reaching, bestar av en rekke stenger av malt leire. Noen er lent opp mot veggen, andre er montert sammen med garn, til en skulptur som strekker seg helt opp til taket. verket synes a folge en tilfeldighetens logikk. Med utgangspunkt i arr i rommets overflate har skulpturen tatt form. Thornton fant et merke pa en av lysboksene i taket. Det kvadratiske glasset er loftet pa glott, tilsynelatende holdt oppe av skulpturen som strekker seg oppover. Verket kan lett leses inn i en kunsthistorisk tradisjon, til modernistisk skulptur og prinsippet om 'drawing in space'. Samtidig er materialiteten interessant. Den harde leiren far sin motvekt i det myke garnet, og de roffe materialene gir et vakkert uttrykk.
I neste rom stoter man pa et verk man forst bare ser baksiden av.
Dillan Marsh har laget en stram og usentimental modul som leder tankene mot business. Marshs verk ser ut som en vanlig 'stand' fra en (kunst-) messe, bestaende av hoyglansede MDF-plater med stenderverk av aluminium. To av sidene er apne, og innsiden er kraftig belyst av overhengende lysstoffror. Slik retter den fokus mot en del kommersielle aspekter man ofte unnlater a trekke fram. Til tross for verkets konseptuelle karakter, er det ogsa mulig a betrakte verket som et uttrykk for en industriell estetikk, grunnet dets minimalistiske formsprak. Minimalistene pa 1960-tallet gjorde seg kjent for a anvende industrielle materialer som stal, plexiglass, billakk og finerplater, til a produsere enkle og mer umiddelbare former.
Vilde Andrea Brun drofter subjektivitet og kjonnskonstruksjoner gjennom fotografi og video. Subjektivitet og femininitet er mangefasettert, og Brun sine fotografier spenner fra det mest intime gjennom en brutal aerlighet til mer poetiske skildringer. Felles er at de alltid er dypt personlige. I et videoverk skjaerer Brun et stort fotografi av en vagina i tynne strimler. Forst ett bilde pa tvers, sa et annet pa langs. De to bildene flettes deretter ritualistisk sammen, slik at motivet igjen blir synlig. Prosessen blir viktigere enn resultatet, noe tittelen Selvrefleksjon underbygger. Kunst som tematiserer femininitet benytter seg ofte av et velkjent formsprak, men Brun unngar gjentakelser, og skaper i stedet en ny sammenstilling av tankevekkende enkeltelementer gjennom sin apne og personlige tilnaerming.
Som seg hor og bor pa en slik avgangsutstilling favner kunststudentene bredt, bade med tanke pa uttrykk og tema. Flere av verkene er utfordrende, bade estetisk og konseptuelt, og i det ryddige utstillingsrommet blir verkene til de 24 kunstnerne godt representert.
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pop-up pannel range 2011-08-17
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fair stands 2011-08-17
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Ancasta-exhibition-display- 2011-08-17
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red square (full) 2011-07-11
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kunsthall isometric diagrammes 2011-06-17
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Blue Square Design 2011-05-11
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Square Design 2011-05-11
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square design print 2011-04-30
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microscale decal 2010-12-16
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tag team documentation 2010-11-19
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Component Design (large sign) 2010-11-15
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component design (small sign) 2010-11-11
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Super Total Design 2010-11-11
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viewpoint 2010-10-20
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logos 2010-08-29
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united 2010-08-29
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leagues 2010-08-29
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m3 body 2010-08-05
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Castle and Elephant, Coventry, 2010 2010-07-02
the group exhibition Rumiko Hagiwara – Dillan Marsh – Elizabeth Rowe brought together three artists whose work encapsulated notions of distraction, futility and perseverance. Working with the aesthetics of mass media, Elizabeth Rowe’s practice merged images from printed material to regain an element of control over an overwhelming accumulation of information. In preparation for exhibition, Rowe produced F—k reason (2009) which singularly featured on the front image of the exhibition flyer. In line with ideas of ineffectuality, four new works were commissioned and intended for inclusion in The Coventry Telegraph. When the commissions were denied printing due to the ambiguous non-commercial content, an enlightening conversation between Rowe and the editor discussing ideas about the ephemeral in art, formed an integral part of the show. Displayed within the window frontage, the protagonist in Rumiko Hagiwara’s film Escalator (2003) performs a subtle passive aggressive act by walking the opposite way, on a downward flowing escalator. By drawing attention to the use of the public space, Hagiwara suggests that the viewer rediscover trivial elements around them. This was shown in conjunction with Dillan Marsh’s work Multiple Failures (2008), which documents futile attempts to inflate a self-constructed air-balloon. Marsh strives to realise a fantasy of escape, but the end result is a catalogue of short-lived unsuccessful endeavours.
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DMA Design 2010-04-11
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Blue and Red Design 2009-08-09
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Blue and Red Design 2 2009-08-04
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