High in the architecture : A thing with of its own, with the wall.

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Fragments/Procedural Remnants/Palimpsest

Robert Ryman : Used Paint, Suzanne P. Hudson. 2009.

The wall of the gallery is, of course, the surface of the paintings and the wall is virtually pulled into the paintings. While the concept is important, the work has to do primarily with visual response.

Monitor, 1978. Oil on stretched cotton canvas with metal fasteners and four bolts, a thing of its own , with the wall.

High in the architecture,

Something's moving,

Unrecognisable spirit,

Dislocated

It's fate belongs to another time,

Another place,

Projections of fallen masonry,

Ghosts of a once pagan temple,

Standing empty,

I stand empty,

Nothing ever happens,

A vessel filled

Held and spilled,

Nothing,

A trace from another time,

Another place.

Angels, from Sleepwalkers, David Sylvian.

David Sylvian as a philosopher, a foray into postmodern rock, Leonardo Vittorio Arena.

An architectural experience where a site/plot becomes a space of interaction, of mutual subjectivity and inter-subjective identifications.

Drawing attention to the body's concealment, and a list of more reliable things.

Things that through reflection and assessment had made her happy in the past.

A site for something else.

A set of experiences rather than physical features.

The ambiguous state of hiding and revelation.

Minimalism, fluid actualities, spaces between things.

White Paintings, Robert Ryman.

On the daylight nature of materials and substances.

The inside of your home is private and your personal realm of expression, the outside is part of other people's lives.

Architectures that determine how to live/movements for living.

Woodman's juxtaposition of smooth skin and scarred architectural details, alludes to a visual tactility, a kind of attack on the body's surface. An undoing/un-fixing of the smooth skin of which female beauty is assumed to be lodged.

A myriad of textures, colours, new insertions into the worn character of the old repaired building.

Home-Studio, as an autobiographic experience, a place that can be circulated and incorporated into your lives and personal histories.

Skin-Surface-Subjectivity.

Harriet Katherine Riches, 2004.

Staged Conjunctions.

Photography and its phantasm of fusion with the environment and other bodies.

Surfaces, broken down bearing the marks of neglect and decay, patina and aesthetics.

Evacuating a temporal recession into the past, revealing layers upon layers, and the literal tearing or scraping away of the photographic surface.

Asperities between a bodily discomfort provoked by the interplay of skin with the torn and peeling sheets of parched wallpaper, and an irritating, scratching, a pulling away of the delicate layers of the body's skin.

Woodman's paper shell also evokes the maternal body as a space in from which the individuated subject emerges.

One needs to feel the texture of the surfaces and objects in the pictures against bare-skin, to truly understand what Woodman hoped to achieve in her work.

Sloan Rankin, Francesca Woodman, 1998.

Identity becomes discrete and subjectivity realised.

For each photographic self-reflection momentarily ensures the continued (mis) recognition of the subject's own bodily borders falsely acting as mirror like surfaces which prevent the subject's re-absorption into both herself and her surroundings.

Plastic Horizons/Strange Attractors/Affective Abstractions

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Intermediaries/Exploratory Realities.

Constructs/Apparatuses.

Elastic Horizons/Schisms

Space-Time Manifolds

Heuristic Devices/Poetic Ideas

Strange Attractors/Drawings/Diagrams

Architectures that embody philosophy, through limited concepts that work with the contingent and the uncertain.

Light has a new prolific dimension today as a means of measurement and communication.

Light that is not seen with the eyes can be felt. 

Light's psychological effects can lead to extremes of feeling with direct repercussions.

The revelations of new spaces, like interwoven languages, dissolve and reappear in light. In magnificent spaces, light changes and appears to describe form. 

An eclipse of white clarity suddenly gives way to a pulse with colour; light is contingent, its shadows intermittent.

In the mist of the metropolis at night, space dissolves before our eyes, only to take shape again within seconds. 

The spatial depth of the urban field cannot be objectified precisely. In its pulse the polarised position of our body and its perceptions are upset.

If we explore spatial depth, then we can consider how objects appear correct or inverted. During our thought-experiments regarding space, especially space beyond the earthbound (Event Horizon, black hole) we accept new spatial levels and by the force of our imaginations, alter the known spatial levels of previous human existence.

Horizon with aurora borealis.

A horizon is not only an optical condition but also a spinning moment in space-time.

In this sense, the earth is not the ground. 

As things continue to float, they spin and accelerate creating subtle centrifugal forces.

We are organic beings.

All of our objective relations begin from the inside out.

We  must form an extended comprehension of space and time at the scale of astronomical events while not losing the perspective of the microscopic.

Parallax, Steven Holl.

Prototyping For Architects, Mark Burry, Jane Burry.

Why it does not have to be in focus, Jackie Higgins.

Studio Painting/Constituent Parts.

Matter and Affect

Presence and Mutability

Affective Abstractions

Robert Ryman

Shifting perceptions into immersions within a sensate world.

Japanese Minimalism

Exploratory Diagrams

Spatial Forms/Horizons 

Building as a body, a battleground of invisible forces. The spine is the central elevator. 

The structure is a tube of concrete covered with insulation and tarred black wood boards.

Knut Hamsun Museum, Hamaroy, Norway.

Works on Paper and Cloth, visible fixings, securely situated to the wall space.

Architectural Panels/Painting Surfaces.

Soundproofing social noise

The solitary artist literally at the edge of his environment, in a state of profound meditation about our place in the wider cosmos.

We are no longer on the outside as an objective, dispassionate observer, but are now part of the journey and perhaps more subtly part of a ceaseless life-giving cycle.

When we are at the beginning of a journey we, like Odysseus, contemplate a character (or concept) that does not yet exist. Absence and loss precede the appearance of an abstract driving force.

Chaos, confusion, and implosion of information bound up in rules, constraints, and limited means precede every architectural challenge. Once the imagined concept takes hold, its correctness is tested in the way it can work in different modes, from program to light, to space and to material.

The journey from the abstract to the concrete is a metamorphosis from a poetic idea with an exploratory diagram, a coherent purpose to form.

Mattering/Metaphor

Dartmoor/Water

Stream of thought, cascades of neural activity in your mind.

Imprints of the natural environment, explorations of matter and light, self and other.

Works that seem caught between this world and evoking a place that is otherworldly.

She works outdoors using the nocturnal landscape as a darkroom.

On The Presentness Of Photography, Craigie Horsfield.

For Horsfield, by separating the act of taking the image from that of printing it, he believes he draws attention to the 'pastness' of the photograph, which is what the picture depicts, its subject and what he calls the 'presentness' which is how the photograph exists through its surface, its matter, and the physical object.

The instant of the moment is also a past reality.

Slow History/Slow Time on the presentness of things and their complicated relationships to time.

Tactile Light/Casting Images.

Pliny/Butades, tracing an outline of a shadow onto a wall.

Christopher Bucklow has devised a process to depict figures composed of myriad pinhole photographs of the sun. He dispenses with the negative by casting images directly into photograms.

She, is rendered not as a shadow but manifested as a radiant, luminous being. 

They flesh themselves in the astral remnants of dilated starlight.

Skin

Surface

Subjectivity 

The composed image is given an apparent physicality, its surface should be constituted by and of  place and time, it should be vulnerable, porous to impressions like skin.

Physical Forms

Landscape

Free Movement

Cone of Vision/Refraction Diagram

Parallax

Elastic Horizons

Science remains essentially mysterious, yet our daily scientific and phenomenal experiences shape our lives; experience sets a new frame from which we interpret what we perceive.

Between Art and Architecture : Studio Processes

 

https://www.flickr.com/photos/russellmoreton/

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Painting is a visual experience. People can write about historical or philosophical points they want to get across using certain examples of painting, maybe work that they think might be similar.

They could make a point in so doing, but it usually has very little to do with the painting itself. 

I do something with the paint, but I'm not painting a picture of anything.

I'm not manipulating the paint into an illusion of something other than what the paint does.

I make a painting.

Robert Ryman on the Origins of His Art.

David Carrier,Robert Ryman. 1997

Ferini Gallery

Prussian Blue

Material Immediacy

Matter and Mutability 

Strange visual spatialities

A space of time and the capacitance between things

Cyanotype postcards of phenomena

Botanical, Astronomical,

Flesh of the film

Subjectivity in forsaken spaces

Robert Ryman

USED paint, Suzanne P. Hudson. 2009

About the 'how' of the material.

Exploration on the nature of paint.

Primer

Painting

Support

Edge

Wall

Edward Thomas

Eno, vessel on a milk white sea

The clay produces an abstracted division of space, letting the material find ones boundary.

studioUS artwork submission

Listing for exhibition at PRIMEYARC, Market Gates, Great Yarmouth.

Studio 3.16 Spatial Apparatus

This large mobile pinhole camera has been used to inquire into the nature of photography and the intermingling of movements and things. The apparatus is used within my art practice which is centred around making, interior design and teaching.

Key Words, temporal agency, spatialities, environs, art practice, apparatus, photography,

Exploring the individual constituent parts of painting : Cyanotype substance on paper.

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Delicate Cutting

Symbolic of the 'connective tissue' which the photograph itself embodies, the pressure of the cold glass against warm skin glorifies the terms of the medium's indexicality, whilst also pointing out a fundamental disparity.

Notes On The Index, Krauss.

IMMATERIALITY AND TRANSPARENCY : Juhani Pallasmaa.

Technique and Expression in Glass Architecture, 2003.

The Poetics Of Glass

Glass And Modernity

All That Is Solid Melts Into Air

The Technological Imperative

Between Polarities

Technique And Poetry

Return To Animistic Thought

Illusions And Reflections

From Form To Matter

The Secret Life Of Buildings

Mirrors And Symbols

Perfection And Imperfection

The Re-Enchantment Of Architecture

Introduction To Modernity

Henri Lefebvre

SPAB

Leaded Glass, repair, restoration, contemporary use of glass, architectural models in ceramic/glass.

In its framed state, Rothko's painting was constricted and not able to exist, as it should, on its; in other words, to be what it was intended to be.

Robert Ryman : The Dallas Installation.

Exploring the individual constituent parts of painting.

Untitled 1980-2003

Oil on steel plate with four fasteners, 48.3 x 48.3cm.

Page 1998

Oil and graphite on stretched linen, 38.4 x 38.4cm.

A series of visual experiences (interpretations on the art of painting), bracing,sensual, austere and luxuriant forms, calibrated to register from one work of art to the next.

The remarkable thing about Robert Ryman is that he has been working within his own matrix of questions, problems, and definitions for the past fifty years, and is still finding ways to make his art evolve from what has gone before.

Going beyond its appearance, to answer the question of what Ryman's art might mean is, of course, the challenge of abstraction itself, a challenge that has proven to be central to the art of the past century up to the present moment and that can arguably be seen still to define many of the issues of the art of our time.

Robert Ryman has investigated a basic set of closely related questions: how are paintings made, what are they made of, how are they installed in gallery and museum spaces, and hoe are these works experienced by those who come amidst them?

Ryman has concentrated on this specific line of inquiry by exploiting a highly select range of painting's parts: surface, support, medium, placement before the viewer, and importantly colour.

Ryman's art is about, and is itself, the paint on the surface of a material that is affixed to or hung on a lighted wall in a gallery or a museum.

It is a square made from any number of materials, and it shows exactly how it was made, what type of brushes or other instrument the artist used in applying liquid pigment, what its surface is, how its paint is affected by underpainting (the placing of one pigment over another to render a visual sensation), how its colours behave, what its material support is, and how it is placed before the eyes (scale has much to do with this), whether on a flat wall or somehow otherwise installed in relation to that wall.

Ryman describes the existence of something mysterious in Rothko with which Ryman was intrigued, so much so that he remembered its effect decades later. What stayed with Ryman, it appears, were Rothko's “form, structure, surface, and light,”

By the extreme boiling down of a painting's constituent parts, Rothko presented the viewer with an experience unlike any other to be found in contemporary life: that of a work of art defining itself and then acting strictly within this definition according to its own set of rules.

What was radical about Rothko, was that there was no reference to any representational influence. There was colour, there was form,  there was structure, the surface, the light, the nakedness of it, just there. 

What Rothko was after, the invocation of universal themes of human existence voiced through a vocabulary of numinous light-filled forms, was clearly not something Ryman pursued in his own art. Over and over, Ryman makes openly visible the way he paints and what he paints with: the meaning of the work seems to radiate insistently from these facts. 

Charles Wylie, 2005.