Tuesday, 20 October 2015
Drawing continues to provide a significant means of exploring possibilities, and the process has become increasingly intriguing. Initial marks begin to establish structure concerned with the location of forms and shapes. Once established the problem of dealing with tonal relationships begins. This is not dissimilar to solving a puzzle - adjacent tonal areas determining how the image is interpreted and how forms/shapes become separated or connected.....
Continued on John's page
I have been working on a series of small paintings on paper called Gilardi Tree and have recorded the colours I used for two artist’s books.
I am continuing to use the internal spaces of the Mexican architect Luis Barragán as a starting point, and Gilardi is the name given to a house Barragán designed in Mexico City, 1975-77.
Continued on Noelle's page.
Thursday, 1 October 2015
This particular walk (walk 11 – Crimea Circle) became one that focused on time and space, with water and light becoming the predominant qualities. The clarity of reflection in the numerous lakes gave the landscape more of a physical depth, their reflections displaced the solidity of the landscape and fragmented the walk, giving an alternative narrative of movement through the landscape.
It was with these concepts in mind that I explored using mirrors within the next Circle series –
continued on Marged's page
The drowning city – not a metaphor – a drowning city.
All relics will drown.
The Appel woman and her whatever-it-is survive to see the 11th Century abbey adrift and awash. Lights still blaze from the wobbly gherkins of a flawed modernity. The sea roils more as it reaches the walls.
You can be as solid as you like – one day the waters will close over your spinning head.
All relics will drown.
continued on Gilly's page
A Journey of Discovery.
On the 4th August I decided to make a monotone A1 brush drawing of the Porpora painting – ‘Still-life with a Snake, Frogs, Tortoise and Lizard’, as a means of analising the work, bit by bit.
The rationale for this was to try and dig deeper into the meaning of this work, and, maybe discover something about Paolo Porpora himself along the way.
I came to realise that, far from being a still-life, as the title suggests, this painting could be a ‘memento mori’. (the Latin for ‘remember you must die’). At first I wondered how Porpora had achieved the vivacity and movement of these reptiles in his painting – I did not think from taxidermy. Then, by chance, I came across a work, almost identical in composition and subject matter, to a Porpora, that I could hardly believe that it was painted by another artist – a Netherlander with the unlikely name of Otto Marseus van Shrieck!
continued on Joanna's page
SEPTEMBER. From journal entry of July.
More words about why I’m reluctant to use too many words! I think that what I mistrust is the inappropriate use….overuse…of one artform to describe another
But words are useful, and are produced in large quantities, to guide us in a general way. For instance, to tell of the life and personality of the artist; the artist’s context in the history of art and in the history of society; how the artwork was made (technically); what other commentators have said and written about the artwork. But words cannot explain the ”meaning” of an artwork
There are many examples of artists complaining when critics/theorists attempt to do this. These complaints are often misattributed and apocryphal but are neatly summed up by “writing about painting is like dancing about architecture”
continued on Noel's page