Friday, 17 January 2014

Apartamento Pics

Trix and Robert Haussmann - The Lehrstuck I, architctural forms as furniture, 1977.

Trix and Robert Haussmann - The lobby of the Hotel le Plaza, Basel, 1984.

Trix and Robert Haussmann - The Lehrstuck II, function disturbs form, 1978.

Smiljan Radic - The access ramp to the House for the Poem of a Right Angle.

Monday, 27 May 2013

Keir Smith

A sculptor, but I like his water colours better.
The sources for his work were based in the art, architecture and sculpture of the italian renaissance.
Keir's long-standing interest and research into the iconography of Renaissance painting through to a revisited interest in the Thames within the City of London and Dutch marine painting.


Dutchman in Flanders III, Acrylic on paper, (2006), 76 x 56 cm.

In Keir's work as a whole, there is a central focus on cultural memory, on the reconstruction of a way of imagining the world that survives only in morsels or fading impressions. Keir was an artist driven by a sense of responsibility towards the almost completely abandoned ways of making meaning in Italian Renaissance art, and towards its own sense of inheritance and indebtedness.


The Tracento Mountain, watercolour, (1995- 97), 51 x 71 cm

 
Signature Spar, Acrylic, 25 x 18 cm, (2005).



Sunday, 12 May 2013

Cave Research Trip

Durdle Door




West Bay


Werner Holfmann on Gustav Courbet's The Source of the Loue or La Grotte 1864.
'What again and again draws Courbet's eye into caves, crevices and grottoes is the facination that eminates from the hidden, the impenetrable, but also the longing for security. What is behind this is a panerotic mode of experience that percieves in nature a female creature and consequently projects the experience of cave and grotto into the female body.

This relation to the female form is not something that I relate to my own work.



These pictures demonstrate how I made the sting lines on the caves.