Don't Forget The Lamb : Brian Clarke
Filtered Light/Boundary Transgressions.
Between art and information/photography and the invisible
Vectors of Subjectivation
The excitement that accompanies the darkroom/laboratory genesis in which something entirely unexpected is bought to light and comes across undiminished.
Colliding Particles of Reality : Darkroom Alchemy.
An affective in-between that activates an intermediary of relations.
Wim Delvoye : Gothic Works
Brian Clarke
Lead/Lamb
Glass/Lamina
Stained Glass, Painting, Appropriation or/and Collage.
Lead Based Drawings/Lead as the ground of the work.
A lot of people are interested in skulls, but not nearly as much today as in the past.
The skull is not only a memory of who we were but also an image of what we will be.
I think it will probably engage artists as a subject for as long as art exists.
You realize that in the midst of living, death is with us, and I wanted to stay with the skulls.
Brian Clarke.
The Passage of Flesh : Ann Mandelbaum
Whispers of Immortality, the skull beneath the skin, TS Eliot.
Layers Of Meaning : Martin Harrison.
Only colour-happiness with glass culture.
Light permeates everything and is alive in crystal.
Glass brings usthe new era; brick culture is a burden...
Paul Scheerbart, Glasarchitektur, 1914.
Immateriality and Transparency
Technique and Expression in Glass Architecture
The Poetics of Glass
Lightworks : Layered Constructions/Interspaces and Transitions
Simulacrum : Installation in the New Building E. ON Eergie AG Munich.
Andreas Horlitz, 2006.
What thrills me about light is the involuntary subjective response that one has to its expression against the engineering of a building, against a tree, against skin.
But more than anything else it's the way light passes through the membranous filter of leaves.
I suppose I wanted to engage the same kind of disciplines that an architect has to deal with when he's building, because I feel what I do is so integrally married to architecture.
In a way what I'm doing is coming as close as I can to creating my own architectural experience without the interference of an architect.
Lamina : Brian Clarke, 2005.
A thin layer of bone, membrane, a thin plate of tissue, the expanded portion of a leaf
Don't Forget The Lamb : Brian Clarke, 2008.
Lead and Stained Glass
Oil on Canvas
You see stained glass by virtue of the passage of light through it, whereas you see a painting by the light reflected off it. So, in contrast to the static condition of a painting, a stained glass window is in a constant state of change as the day progresses, the clouds move, traffic or people pass by behind it.
Immaterial, Ultramaterial : Architecture, Design and Materials.
Substance, Ron Witte, 2002.
Bodies in Space
Spatial Practice
Spatial Representations
Francesca Woodman : becoming-woman, becoming-imperceptible,
becoming-a-subject-in-wonder
Lone Bertelsen
We are not in the presence of a passively representative image, but of a vector of subjectivation.
Guattari, 1995.
The figures in Francesca Woodman's photographs often leave the ground, and the photographs themselves seem strangely ungrounded.
Both the figures and the photographs themselves are mobilised: they become “trans-situational”
(Massumi,2002) and open up towards “a new space-time” (Irigaray, 1993).
As part of this mobilised opening, Woodman often camouflages the body and/or moves it in front of the lens during exposure.
Camouflage : Neil Leach, 2006.
A Theory of Camouflage.
Camouflage is not restricted to the visual domain. It can be enacted within the domains of other senses, especially smell and hearing.
Camouflage can therefore be read as an interface with the world. It operates as a masquerade that re-presents the self, just as self representation through make-up, dress, hair style etc., is a form of self re-presentation.
Camouflage refers to both revealing and concealing. Camouflage delineates a spetrum of degrees of definition of the selfb against a given background.
Mimesis, Sensuous Correspondence, Sympathetic Magic, Mimicry, Becoming, Death
Narcissism, Identity, Paranoia, Belonging, Sacrifice, Melancholia, Ecstasy,
Mimesis :Paradox or Encounter
Jane Bennett, 2018.
Skin-Surface-Subjectivity.
The body is the origin point for a discussion of spatial practice.
The Roman Years : Isabella Pedicini
Between Flesh and Film, 2012
Francesca Woodman
Gordon Matta-Clark
Spatial Agency and Relationscapes
Yves Klein
Works-Writings
Klaus Ottmann, 2010.
The Battle between Line and Colour.
The Performative Body
Few things are as fascinating as an imprint. An imprint is the trace of a presence-within-absence, the substratum or deposit of a being who no longer exists, the mark left by a moment beyond recall.
Such impressions pose the problem of being and nothingness, fullness and emptiness, presence and absence. Far from seeking to sidestep that problem, Klein's anthropometries address themselves to the heart of the issue.
Klein strove for dematerialization, for the emancipation from matter, in order to overcome the predicament of the art of his time. He ultimately abandoned both pictorial content and form, immersing himself in the boundlessness of pure colour.
Since re-presentation is a cultural artifice, presentation alone can sustain an 'authentic natural realism'. The imprint preserves the memory of the contact. It is a natural 'inscription' preceding writing.
The aesthetic of the trace is opposed to the aesthetic of mimesis.
It counters the mimetic with a presence.
Body traces, traces of 'health', are records of a pristine state of life.
Seeing chromaticity arising from the modulation of light.
Pierre Soulages/Jean-Dominique Fleury : Conques 1987-1994.
The result was a translucent non transparent glass, that let the light through but not the view: a glass that diffused the light not by reflecting it on its surface but from its very texture.
This modulation of the transparency was the natural consequence of the uneven distribution of ting bits of glass of different sizes, and of their partly “deglazing” during fusion.
Maps of Interior Space
A Swimmer Between Two Worlds, Francesca Woodman.
Katherine Conley, 2008.
Extract, on the nature of photographic light.
The Self-Representational Photography of Francesca Woodman : Harriet Katherine Riches.
Clementina Hawarden/Francesca Woodman
Both photographers' imagery centres on the portrayal of interior space in which the borders and limits of that space are constantly affirmed and re-iterated.
Staging their female models against walls, learning against fireplaces, positioned adjacent to thresholds and doors, or gazing wistfully through the glazed panes of windows, the interiority suggested in each woman's imagery is always held in tension with what lies beyond, emphasising the boundaries of public and private space.
Riches, it is their shared manipulation of light to exaggerate a sense of physical containment that my interest here lies. In both women's work, light is not only that medium of clarification and development necessary to the photograph itself, but conversely also becomes the means through which a subject is obscured, contained or constricted.
Becoming
The Photographs of Clementina, Viscountess Hawarden.
Collecting Loss, Becoming Decay, Francesca Woodman, Sally Mann,
Carol Mavor
Projecting Touch
Francesca Woodman's Late “Blueprints”
Emotion, Space and Society
An intimate mode of looking
Woodman insists on the sheer impossibility of dividing the problems of the self from the problems of the medium, and in so doing it compels an intimacy, an inquiry between photograph and viewer.
Francesca Woodman's photographs, Jane Simon, 2010.
Francesca Woodman's Dark Gaze : Claire Raymond.
The End of Art and the Question of Legibility.
Outside In : Francesca Woodman's
Rooms of Her Own
Johannes Binotto
To divert our gaze from Woodman's body and consider what is going on next to, behind, and around it. Indeed Woodman's photographs always also capture that other; she incessantly switched angles of view and photographed what was beyond her body: the scene of the action, the room itself, calling on us to turn our attention to the spatial situations in her pictures.
National Galleries Scotland
Self Deceit, Eel Series, Untitled Providence,
Francesca Woodman
The Raw Seduction of Flesh
Photographs by Connie Imboden, 1999.
Human Figure Drawing : Daniela Brambilla
Drawing Gestures, Postures and Movements
The Artist's Reality : Mark Rothko
Philosophies of Art
Teacher's Manual Brockwood Park School
Enquiry and Investigation, Krishnamurti.
John Berger
Bento's Sketchbook
Storytelling, the invisible and the hidden, protagonists are survivors.
Their stories remain unfinished, because they involve sharing, because in their telling a body refers as much to a body of people as to an individual, for them mystery is not something to be solved but to be carried.
The arts, as technologies, are carried along in the same unpredictable history. Their very finality is uncertain. How then can one found a school of art? Perhaps precisely by bringing together artists, that is to say, technicians, who are no longer assured of disciplinary borders, who explore the frontier zones, the limit zones, the in-betweens. . . .
A paradoxical institution, to be sure, since it institutes a decompartmentalization , giving a place and a frame to operations of unframing.Sylviane Agacinski, IN-BETWEEN (a notion which is neither a concept nor an image, Tschumi)
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
In the course of a lifetime there are few decisive conversations: with a classmate in high school, a father or mother, a best friend, an admired mentor, a person whose newfound presence will shape the rest of our existence.
Alain Fleischer, LE FRESNOY : WHY THAT? WHY THERE?
Bernard Tschumi : Architecture In/Between
Architecture, Light, Art,
The real drawing takes place in the mind, Brian Clarke
Drawing in a volume, Zaha Hadid
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