Saturday, 14 July 2018

Colouring Light Brian Clarke An Artist Apart

At some time, perhaps many times in his life , every man is likely to meet with a thing in art or nature or human life or books which astonishes and gives him a profound satisfaction, not so much because it is rich or beautiful or strange , as because it is a symbol of a thing which, without the symbol, he could never grasp and enjoy.

Edward Thomas
The Inn/One Green Field

Architecture, Light, Art,

The real drawing takes place in the mind, Brian Clarke

Drawing in a volume, Zaha Hadid

Friday, 6 July 2018

Immaterial Architectures : Organizing Structures/Making Metaphysical Space

Architectural Surface : Constructional Forms in Glass
Organizing Structures : Artist Notebook, Body/Landscape

Christopher Wilmarth ; Poetics/Duality of Light and gravity
Other Architecture
Constructing Metaphysical Space

Wilmarth's art reveals his essential concern with the mystical and physical properties of light, especially the ways in which light evokes reverie and generates sensations of space and containment.

The Architecture of Natural Light : Henry Plummer

Orchestration of light to mutate through time

Intensity and integrity of Wilmarth's practice/vision.

Choreography of light/moving eye

Refraction of light/diaphanous film

Wilmarth made possibly his strongest, most beautiful works on paper, exploring a new level of expression while retaining continuity with past work.

Sifting of light/through a porous screen

These drawings also contain allusions to the human presence. Their haunting, foreboding quality is prefigured in the grave, austere tones of some of the glass and steel structures.

Channelling of light/through a hollow mass

The duality of light and shadow and contrasts between abstraction and representation continue to be central concerns in his final drawings.

Suffusion of light with a unified mood

Wilmarth's sculptures from the early 1980's are influenced by the poetry of Stephane Mallarme.To affirm Mallarme's emphasis on the spiritual, the artist used a simple ovoid form, evoking a multitude of symbols, including the human head. These ovoids were made of blown glass, which Wilmarth viewed as "frozen breath". The artist pursued this figurative impulse into the mid 1980s, combining the anthropomorphic ovoid shapes with the larger abstract forms of his earlier sculpture.

Materialization of light in physical matter

Wilmarth composed with planes of delicate colour and light, placing plates of blackened steel behind translucent sheets of etched glass imbued with a luminous, greenish cast.

"He employed a painterly technique that emphasized the tactility and fichness of his materials, which like an alchemist he persistently sought to transform. He continually examined the concept of duality: contrasts between light and shadow, transparency and opacity, heaviness and weightlessness, materiality  and ethereality, form and spirit are repeatedly presented; the synthesis of geometric with organic forms, the range between abstraction and representation are constantly explored."
Laura Rosenstock, catalogue essay.

Slow Photography/Blue Transitions : Phenomenology of Visual Structures

Wednesday, 4 July 2018

Brian Clarke : The Art of Light

Godfrey Reggio
We have art so that we may not perish by the truth
Friedrich Nietzsche

Water and Dreams
An essay on the imagination of matter
Gaston Bachelard 

Architecture was no longer an autonomous and isolated discipline but it now participated in the movement and confrontation of ideas.

Architecture In/Between
Bernard Tschumi 

Tuesday, 3 July 2018

The Film Stilled : Photograms/Assemblages/ Reading Texts

The Film stilled, Raymond Bellour pdf, Chris Marker

Spatial Apparatus : Pinhole Photography/Cyanotype,  Tate Turbine Hall.

From the photogram to the pictogram : on Chris Markers La Jetee, Reda Bensmaia.
Camera Obscura, Sept 1990.

Nostalgia and La Jetee
Karla Huebner

The Mirrored Abbey :  The Photographic Aesthetics of Decay

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

The Custodians, Richard Cowper 1976.

Humanity : An Emotional History
Stuart Walton. 2004


Camera/Room Obscura : Physical Contact Print
Light Writing : Surface Architectures
Kilquhanity, Scotland.

Sculptural Form/Everyday Interior (Bramdean)
Scarred Time/Photographic Surface/Negative

Monday, 2 July 2018

Book/Assemblages/Mapping : Body, Static Movement, Blueprints

Spatial Practices
Architecture, Fine Art, Performance
Blueprint, Photogram and Collage.

a thousand plateaus
Deleuze, Guattari


The beauty of the assemblage is that, since it lacks organization, it can draw into its body any number of disparate elements. The book itself can be an assemblage, but its status as an assemblage does not prevent it from containing assemblages within itself or entering into new assemblages with readers, libraries, bonfires, bookstores, etc.

Body Without Organs
Smooth Space
War Machine

Assemblage/Garden Design : Architectural Plan/Victorian Corset

DSC_6288 Studio Assemblages

The 1960s Body Through Sculptural Movement and Static Dance
Maya Bartel

DSC_6217 Winchester Cathedral : Static Movement/Space for Peace

Friday, 29 June 2018

Alternative Realities : Experimental documents, visual material from site based projects.

Twilight Abstraction : Liminal Zone.

Marking Stick : Leylines, Directions and Sites.

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

Waverley Abbey, interior with pinhole camera

Tuesday, 26 June 2018

Locality/Social Complexity and the Everyday : Works on Paper

Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ammonium iron(III) citrate and potassium ferricyanide.

The English scientist and astronomer Sir John Herschel discovered the procedure in 1842.[1] Though the process was developed by Herschel, he considered it as mainly a means of reproducing notes and diagrams, as in blueprints.[2] It was Anna Atkins who brought this to photography. She created a limited series of cyanotype books that documented ferns and other plant life from her extensive seaweed collection.[3] Atkins placed specimens directly onto coated paper, allowing the action of light to create a silhouette effect. By using this photogram process, Anna Atkins is regarded as the first female photographer.[4]

From Wikipedia, the free encyclopedia

Mesh/Material/Light, Cyanotype Process

Locality/Social Complexity- Works on Paper

DSC_6026 Hortus Conclusus

Wednesday, 13 June 2018

Open Studio : Norfolk and Norwich 2018

Civilizing Rituals
Inside Public Art Museums
Carol Duncan

Julian Stair
Quietus reviewed
Archaeology of an exhibition

Spirituality in Contemporary Art
The Idea of the Numinous
Jungu Yoon

The Aesthetics of Silence
Susan Sontag

A Field Guide To Getting Lost
Rebecca Solnit

Essays On The Blurring Of Art And Life
Allan Kaprow

Ways of Curating
Hans Ulrich Obrist

The Fitzwilliam Museum, Cambridge

On Show : Contemporary ceramics in the Goodison gift in the context of a historic museum collection.

A rare opportunity to hear different perspectives on how the art of display can animate objects and deepen insight into historical collections.

The study day will draw on two current displays exclusive to the Fitzwilliam Museum: the Goodison gift of contemporary ceramics and the exhibition Things of Beauty Growing: British Studio Pottery. Speakers include four internationally-acclaimed UK ceramicists whose work features in both displays: Julian Stair, Carol McNicoll, Philip Eglin and Jennifer Lee. The study day concludes with a conversation between Amanda and Sir Nicholas Goodison, followed by the opportunity to share reflections on the subject.

Art has the power to affect our thinking, changing not only the way we view and interact with the world but also how we create it. In Art and Mind, Ernst van Alphen probes this idea of art as a commanding force with the capacity to shape our intellect and intervene in our lives. Rather than interpreting art as merely a reflection of our social experience or a product of history, van Alphen here argues that art is a historical agent, or a cultural creator, that propels thought and experience forward.
Art in mind : How contemporary images shape thought
Ernst van Alphen

Walking and Mapping
Artists as Cartographers
Karen O'Rourke

A Bigger Splash
Painting after Performance
Catherine Wood 

Art in Mind