Why, for "moral" support of course Sarah.
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Ashley Bickerton (American,1959-2022)
Black Doodle, 2006
Relief print by etched copper plate on handmade paper
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Frank Bickerton at Land's End, near Commonwealth Bay.
Antarctica
1912
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Ashley Bickerton (American, born Barbados, 1959-2022), Untitled, 2006. Acrylic and digital print on paper, 47 x 39.5 in.
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Frank Bickerton at Land's End, near Commonwealth Bay, Antarctica, c.1912, photograph by Frank Hurley
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"Susie's Mother Tongue," an exhibition of sculptures and paintings by Ashley Bickerton, is on view through at Gagosian, West 21st Street, New York, through Saturday, October 14. This is the gallery’s first solo exhibition of Bickerton’s work, and the first since Gagosian announced its representation of the artist in 2022.
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Ashley Bickerton - River Vector : GB - OC, 2019
Oceanic flotsam and beach detritus, stainless steel, etched glass, rubber, fiber glass, textile and plywood (168 x 168 x 18 cm)
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Good writing and good acting themselves make House of the Dragon an excellent series. But the quality of its FX and VFX send it off the charts.
The first thing “House of the Dragon” visual effects supervisor Angus Bickerton discussed with showrunners Miguel Sapochnik and Ryan Condal was — surprise — the dragons. The show’s predecessor, “Game of Thrones,” set new standards for the photoreal monsters; it won sevenvisual-effects Emmys, after all. The prequel would rely on them even more.
A reminder that there will be a total of 22 different dragons in the series.
To be sure, the visual effects team had its hands full, especially with the show’s virtual locations and the progressive desiccation of King Viserys I (Paddy Considine) due to a Westeros version of leprosy. But the main attraction was always to be the dragons. They’re present without doing much through its first nine episodes, the VFX/mythical monster version of Chekhov’s gun, waiting to be fired. Then, in the season finale, their full capabilities erupt in a spectacular, thrilling chase and fight to the death that showcases how far VFX have come, even in the short period since “Thrones” concluded in 2019.
On one side of the fight is Arrax, a teenage dragon with a young teen human rider (Lucerys, played by Elliot Grihault), the two about the scale of a boy on something the size of an elephant with wings. On the other: 120-year-old Vhagar, largest and oldest of the behemoths, ridden by insolent bully Aemond (Ewan Mitchell).
“Vhagar’s head [alone] is the size of a small, six-person vehicle,” Bickerton says.
In one breathtaking moment, the dragons’ relative size is revealed when Vhagar passes above Arrax, dwarfing him. It’s reminiscent of the classic opening shot of 1977’s “Star Wars”: A small ship is pursued by a Star Destroyer — whose massive bulk seems to go on and on and on.
The amount of attention to detail is astonishing.
“So for Vhagar, we took references from whales. She has these parasitic birds that live on her, eating mites and bugs off her skin. The rigging and saddles are now cutting into her skin because she’s actually grown around it.”
Here's Elliot Grihault at the filming of that scene. A lot going on there.
Another change from “Thrones” involved the mechanical-bull-like mounts on which the actors sat to simulate riding — these “motion bases” were more advanced, with more range of action, “more speed and more dynamism” than their forebears.
Condal “kept saying, ‘I want the actors to be holding on for dear life,’” says Bickerton with a laugh.
It took multiple effects houses and multiple processes to weave together the season’s payoff sequence.
It's worth having another look at that sequence.
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Ashley Bickerton - Hula Girls, 2006
RIP Ashley Bickerton.
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Ashley Bickerton
www.instagram.com/ashleybickerton
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