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.

Ian Kiaer

transcends literal reading to create suggestions of invented narratives.
- objects arranged to create a series of miniture landscapes - COMPOSITION
- work scaled to the size of the human body and dramatised by your movement around it at foot and eye level.



Ian Kiaer makes carefully constructed assemblages comprising found objects, architectural models, paintings and drawings which form poetic narratives. The humble nature of Kiaer’s materials directly and consciously contrasts with the epic subjects depicted: a block of polystyrene represents a snow-covered sweep of land; an upturned plastic waste bin stands for a cliff face. These forms derive from Kiaer’s research into the idealistic visions of eccentric historical figures, united in their desire for retreat from the dominant ideologies of their day, or concerned with reconciling the relationship between man and environment. For Art Now Kiaer brings together both new and existing works to explore the relationship between the landscape paintings of the sixteenth-century Flemish painter Pieter Brueghel and the working spaces of the twentieth-century Austrian philosopher Ludwig Wittgenstein.

I find this guy really confusing.

Alex Hartley

Survival at the end of the world. Dystopian architecture. What would I do if there were no more other people? What would I do if I had to move away from all other people?




Inspired by counter culture refugees such as Colorado's 1965- founded 'Drop City' which was one of the first hippie communes. (geodesic domes)
'The World is Still Big' at Victoria Miro.
- creating habitats in inhospitable landscapes.