Outpost 310323
A Sensation of Looking/Manifesting Seeing
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Matters of Concern/Fact.
Drawing/Contingency/Sensing/Seeing
Drawing away from descriptive depictions that illustrate preconceptions/aesthetics.
Julian Stair.
Quietus. 2012.
The Vessel.
Death and The Human Body.
There is an alchemy to making ceramics. We take an inert material, fashion it, dry it and expose it to heat and flame. The practice of cremation, of exposing the body to fire, going through an alchemical change, echoes and parallels the process of firing.
Julian Stair.
The materials he works, lead and clay are dense, both physically and emotionally. But Stair's use of these materials is not representational. These objects do not depict or illustrate, instead they enact and embody.
Stair's achievement in this cyclical exhibition is to have expressed both the universality and the specificity of death, each as an aspect of the other.
The great hand-thrown jars that stand at the heart of the exhibition exemplify this doubleness. Though completely abstract, they exist at the scale of the body. They invite a tactile response, visitors might stroke the ridges circumscribing the jars or tap them, or even give them a gentle hug.
Glenn Adamson.
Life drawing on the psychology of nakedness and the human body in contemporary art.
Life-Class/Anatomy/Pathology.
The practical and theoretical problems of the confrontation with the human form.
Georg Eisler.
Herbert Boeckl.
His nudes speak a physical language, interpreting life and death in terms of human bodies, of functioning muscle and bone and the tactile aspects of flesh, and the knowledge of what lies beneath/behind it.
Alfred Hrdlicka.
A Group. 1973.
Proximity does not read as intimacy, the entangled naked bodies convey a sense of insecurity.
The Posed/Nakedness/Social Scrutiny.
The Life-Class.
Isabel Bradshaw/Michael Grimshaw
Drawings/Sculpted lines that bring sensations onto the surface of the paper.
Lines of Movement/Vectors
Lines of Static Forms/Boundaries
Mark-making, rendering the spatialities of the human form.
Form-Movement
Mass-Volume
Skin-Surface
Line is only the visual interpretation of an extremity of a volume. Mark-making on a drawing becomes a conduit for a sensation of seeing others.
The concept of anthropomorphism is central to the identity of pottery. We use bodily terms such as a neck, shoulder, hip and foot to describe the constituent parts of a pot. And the very nature of the vessel as a container, a holder of things, is analogous to the idea of the body as physical container for the soul or spirit.
Julian Stair.
