Monday, 16 October 2017

An Elemental Imagination Unfolding

 Analogue Shadow Projection  (Townshend Rock)

Sugar for the pill

Gaston Bachelard
Intuition of The Instant
A preoccupation with the discontinuous and the disruptive

"relentlessly  hauling the cumulative detritus of our past"

Sunday, 8 October 2017

The Instant : Process/Projection : Tarkovsky/Chadwick/Bachelard

The Instant is already solitude.

It is solitude in its barest metaphysical value, a creative violence:

Gaston Bachelard. Intuition of the Instant
Maria Popova, brainpickings

The Sacrifice/Tarkovsky  1986
Screen Capture

Speculative Fields/Spatial Practices
Site Writing/Place Making
Collage/Enumeration of photographic elements

DSCN7548 : Process/Projection
Piss Flowers/Helen Chadwick

Saturday, 7 October 2017

Drawing and Assemblage/ Field Perspective and Shadows : Cyanotype Process

P3228227a : Engineering Blueprint on Watercolour Paper. 2011
Slumped glass panel " evolved " from a head gasket (Hillman Imp) and a note recording failing compression readings.

Drawing and Assemblage : Cyanotype process on watercolour paper with lead profiles.

Terrestrial Movements  : #2  Solar Spore.

Aerial Composition (movements inside the Cathedral) : Cyanotype and Sunlight.

Panspermia Exodus  2011
Blueprinted drawing with pierced markings taken from research material gathered whilst registering "Space for Peace" Winchester Cathedral.

Field Perspective and Shadows.
Blueprint from pinhole camera

The Fleeting Cathedral

Making/Photography/Process and Aesthetics

Found Objects : Archaeological Photogram

When you make photograms, without the use of a camera, you can indeed call that abstract photography, as the lens and the corresponding registration medium are lacking. No longer do you have pictures of reality or objects; you only have their shadows. It is a bit like Plato’s cave, where one could only imagine reality; the objects themselves were not visible.
—Thomas Ruff

Frameworks with Enclosures 6

Of the mason's who built them, we can say that they both designed as they drew, and drew as they designed. But their designing, like their drawing, was a process of work, not a  project of the mind.
Tim Ingold 'Making'

The Mirrored Abbey :  The Photographic Aesthetics of Decay

Nothingness, Nostalgia and the Absence of Reason.
The Aesthetics of Decay, Dylan Trigg,

TRANSPARENT MEDIA : Form,structure, space, enchantment
Double Take
15 APR - 3 JUL 2016

A two-venue exhibition exploring the relationship between drawing and photography, taking place at Drawing Room and The Photographer’s Gallery, London.

Drawing and photography are each considered the most direct, ‘transparent’ media with which to engage with the world.  They share fascinating parallels:  the relationship to the indexical, the blank sheet of paper or surface, graphite and silver, pencil weight and aperture, the sense of an invisible ‘apparatus’ (the camera and pencil), the engagement with surface, light, negative and positive and the trace. Double Take seeks to explore the multifarious ways photography and drawing have been combined and mirrored to extend both practices into new arenas in modern and contemporary practices.

“… a freehand sketch diagram that was at the tangent between idea and imagination…if the parti – the first critical diagram – is not made well, it will be difficult for architecture to follow.  If there is no parti, there will be no architecture, only (at best) little more than the utility of construction.  Buried within their early sketches is the germ of a narrative or language.  The early diagrams are reflective conversations with the language of architecture.”

-  Alan Phillips, Brighton, UK

Wednesday, 20 September 2017

Albert Camus : The Plague, 1947. (Penguin Fiction)

The townspeople of Oran are in the grip of a virulent plague.

Cut off from the rest of the world, living in fear, they each respond in their own way to the grim challenge of the deadly bacillus. Among them is Dr Rieux, a humanitarian and healer, and it is through his eyes that that we witness the devastating course of the epidemic.

Written in 1947, just after the Nazi occupation of France, Camus's magnificent novel is also a story of courage and determination against the arbitrariness and seeming absurdity of human existence.

'Camus represents a particularly modern type of temperament, a mystic soul in a Godless universe, thirsty for the absolute, forever rebellious against the essential injustice of the human condition'
Shusha Guppy, Sunday Times

The Planet drowns in an ocean of photographic emulsion.
J G Ballard