Articles

http://www.theguardian.com/artanddesign/2013/aug/03/pop-up-designs-architecture-london

http://www.agnieszkamlicka.com/texts/The%20Psychology%20of%20the%20Interior.pdf

http://www.sciarc.edu/lectures.php

http://www.aaschool.ac.uk/PUBLIC/AUDIOVISUAL/videoarchive.php?page=3

Camberwell Degree Show 2013

 MANY pictures but i couldnt choose

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).

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. 

Toba Khedoori - Making insignificant objects important

Making objects into more than just objects. Abstracting them from what they were before and turning them into something different.

 Untitled (Rocks)

 Untitled (Logs)

Alienation. Khedoori's 'canvas' consists of large sheets of unframed paper, slightly overlapping and stapled directly to the wall. These may reach up to three metres in height and span as much as eight metres. There is no human presence but, like a stage set for an impending drama, the possibility of action is always there.

Ways of displaying objects

Thomas Schutte

Francis Upritchard

Charles Avery Stone Mice - Making insignificant objects important

A Stone Mouse is: ´part animal, part mineral, whose heart beats only once every thousand year´
To identify a Stone Mouse: ´one must identify its central axis, being the line which runs between its two most extreme points (A and B), the distance AB being its length. This line must be occupied by the stone at all
points along it (so a banana-shaped stone would not qualify)´
Stone Mice need to: ´possess je ne sais quoi´
Sadly once taken from the Island and: ´subject to the harsh light of Reality… the Stone-mouse becomes merely a stone that looks like a mouse´

Julius Bissier c.1965

Joint Watercolours