27 December 2012

Divided Visions-Paper sculpture finished 26/12/12

(Divided Visions, 26/12/12, assembled paper and coloured using oil pastels, wall mounted)




I am on a role today with these blogs, thought I would quickly add another. I recently created my first paper sculpture, well my first since a long time running now. The last time I used paper in this way was back at College and I remembered I enjoyed creating things using paper. Like ceramics it too can be shaped into almost anything and be coloured, providing possibilities to explore. Paper is such an accessible material and since I do not have all the facilities yet to get back into using clay to make my work I found paper can provide me valuable insights to ways in which to explore my ideas further.

 This sculpture is intended to be a wall piece, I wanted to create a relief of sorts as the idea of making reliefs has been in my mind for quite sometime. With this piece I wanted to create something that had a kind of depth in a way to draw the eyes into different parts through the use of form and colour, just like my thinking in relation to my new ceramic work. 

I also notice with this piece there is a lot of separate elements used to create the overall piece, it seems they have a way of braking everything up into segments that effects the way the overall form is seen.

I hope I can can continue to produce more paper pieces like this, I really have enjoyed working in this way as it also provides a means to test out ideas. At this rate my lounge will probably turn into some kind of gallery space.

Selected Pictures, Bristol, UK

With this picture I positioned the camera near to the ground in between some railings, its produced quite an interesting angle and perspective. The structure appears to be set against the backdrop of the sky.

Here for me the forms and colours really stand out and looks as though they are interacting with the backdrop of the space.

This one is almost serial looking as though there is another dimension to which this bicycle could enter.

I took this one as I enjoyed the way my eyes were wanting to see what was inside but found it difficult, however light and shadow played a part in heightening space and structure.

Some kind of Hot-Cross-Bun? Never seen anything like this before, I still don't know what it is, but the form and colour immediately caught my eyes. 


Here I avoided taking a picture of all of the structure, the object appears to be a centre of focus.

Elements look as though there layered upon each other, and my eyes feel trapped as if there is no were to escape.

It looks like a mess but it seems to have a kind of characteristic, the elements come alive and there is a visual wealth of colour. 

There seems to be a kind of tension taking place, a line of sorts interacting with space.


Times have been busy recently as within the past week or so I left Cardiff and moved to Bristol just in time for Christmas. It always takes time to properly settle down when moving to a new area and Bristol is no exception as I have not lived here before. At least the Christmas food has helped me to feel more relaxed, I hope everyone else has had a joyful Christmas and has a Happy New Year for 2013. 

I thought I would just like to share these new selected pictures taken for the first time around the Bristol Harbour side. I rely enjoyed my time there, the space is huge and since I went out on Christmas Day it was so quiet, everything very still and peaceful. It's interesting as Christmas seems to be the one day of the year were you can go outside and feel as though the world around you has stopped. But anyway this proved to be a good opportunity to go outside for a walk after a big dinner and take some pictures.  

12 December 2012

Tate Modern, London, November 27, 2012

(Theo van Doesburg, born: 1883-1931, Counter-Composition Vl 1925, Oil paint on canvas)

(Charlotte Posenenske, Born: 1930-1985, Square Tubes Series D, 1967, Galvanised Steel.)

(Jean Helion, Born: 1904-1987, lle de France 1935, oil paint on canvas.)

(Robert Delaunay, Born 1885-1941, Endless Rythm, 1934, oil paint on canvas)

(Donald Judd, born: 1928-1994, Untitled, 1980, steel, aluminium and perspex)

(Donald Judd, born: 1928-1994, Untitled, 1980, steel, aluminium and perspex)

(Donald Judd, born: 1928-1994, Untitled DJ 85-51, 1985, painted aluminium) 

(Donald Judd, born: 1928-1994, Untitled DJ 85-51, 1985, painted aluminium) 

(Donald Judd, born: 1928-1994, Untitled 1972, copper, enamel and aluminium) 

(Piet Mondrian, born: 1872-1944, Compostion C No.III with Red Yellow and Blue, 1935, oil paint on canvas)

(Piet Mondrian, born: 1872-1944, Compostion B No.II with Red, 1935, oil paint on canvas)

(Victor Pasmore, born: 1908-1998, Abstract in White Green Black Blue Red Grey and Pink C1963, perspex and painted wood) 

(Kasimir Malevich, born: 1879-1935, Dynamic Suprematism, 1915 or 1916, oil on canvas)

(Larry Bell, born: 1939, Untitled 1964, metal and glass, Untitled 1967, metal and glass, Untitled 1962, glass and wood)

There is always something new to document, and this time round its selected works of art from the Tate Modern. 

I find my eye is becoming more and more selective now on the types of work I include in this blog, there is a lot of work I really liked from this museum but I think I am beginning to narrow it down and out of this I have once again noticed connections. All the works selected were taken from level 4 of the Museum, I think there were all housed under a title theme called Structure and Clarity but I am not sure, you can check out the website link here...http://www.tate.org.uk/art/artworks?sid=3501

My initial impressions when entering this section of the galley is the way each art work has their own space to breath, its all nicely distanced from each other and was not too cluttered. This is also the same for  a lot of the other artworks in the gallery, I like this as my eyes were not overwhelmed with too much information, plus there is enough space to step back or even walk around a work of art.

Initially what I get from looking at this type of work is a sense the built reality is for example being played upon or even extended into new possibilities whereby the artists themselves have created works that provide new ways of seeing and interacting. I do not think all the artists listed here were influenced purely by the built environment but every time I see this kind of work I do think to myself that there are some relationships and I think it's mostly down to the geometry of it all but of course geometry can also be found in nature as well. Anyway the work did have a way of just making me stand in front of it or in some cases move around it to investigate further what I was seeing. It seemed a lot of it just forced me to observe it over and over again as if there was something new to see every time and sometimes I just stood still as if I was in some kind of trance contemplating. Another thing I notice from it all is that there is a kind of freshness to the work, perhaps a kind of purity in form and colour, but yet it still managed to draw my eye to different elements of the work. I also feel when looking at this work that time is not relevant, even though some of the work was created in the 1900s it still looks as though it could have been produced only recently. 

Overall I feel as though I am always stepping into some kind of new reality were things are not what they seem when I look at this kind of work, I don't know if I can call it dream like because strangely it feels more real. Acutely in some cases when looking at these art works I think to myself is there some kind of meaning coded within, is it trying to communicate something other than just form and colour, obviously for me it is relatable to something but do the artists have something specific there wanting there work to communicate. Perhaps I need to have another look at the artists statements again.

24 November 2012

V&A (Contemporary Ceramics)

(Gorden Baldwin-Vessel from a Quartet II, 2004-2005)

(Gorden Baldwin-Vessel from a Quartet II, 2004-2005)

(Ken Eastman-November Night, 2002) 

(Ken Eastman-November Night, 2002) 

(Ken Eastman-November Night, 2002) 

(Martin Bodilsen Kaldahi-Dazzle Vessel 3, 2003)


(Martin Bodilsen Kaldahi-Dazzle Vessel 3, 2003)

(Martin Smith-Presence and Absence No.2, 1998)

(Martin Smith-Presence and Absence No.2, 1998)

(Martin Smith-Serial Dialogue in Fifteen Parts, 2007)

(Martin Smith-Serial Dialogue in Fifteen Parts, 2007)

Last week I was in London for a short time, I had not been to the V&A Museum for quite some time so I went inside to have a quick look, but I especially went in to see the ceramics and see if anything had changed. 

I did not see any big noticaible changes to the ceramics collection there, I still worked my way through the endless presentation of ceramic pieces enclosed in glass cases till I came into the Contemporary Ceramics room. There I saw work from artists such as Gorden Baldwin, Ken Eastman, Martin Bodilsen Kaldahi and Martin Smith. This time I was particularly drawn to these artists works because I could see a connection between all their work. Most of the work is of a vessel form, they all seem to occupy/utilise space which in turn made me want to investigate the work further and colour also seems to be an important feature in either focusing the eye to different parts of inside or outside of the form or in a way braking up the form. It is interesting in seeing multiple ways in which the vessel can be reinvented and presented to display sculptural characteristics, they seem to take on some other presence.  

However looking at this work a notable feature is its reference to architecture, as I find my self recognising in the works aspects of geometry either in form or colour. More and more I find myself being drawn to this type of work and being able to formulate connections. I think fundamentally why I drawn to this type of work is because it invites me to move around it and explore. It is a type of curiosity, leaving me to make my own judgements about what I am seeing as everything I have mentioned is I guess my own interpretation and another person's experience of the work will probably be different to mine, there is no definitive answer to what is being seen.  

15 November 2012

York city centre, selected pictures







Lately I have been continuing my ever increasing mission of taking photos to help influence my thinking in relation to my theory and practice. These pictures were taken in York the last time I was there, they are quite random as there is no particular one place in York to which they have come from, I just mainly selected the ones I most liked from the collection I have.

I have not manipulated  the pictures in any way using photoshop this time round, however what I have done is to change the way the pictures are seen by displaying them in ways that are un-corect to their original perspective, so really just by rotating the images from their original position. It is so simple but it makes me look at the pictures in a whole different way, I suppose its like turning reality upside-down or making it appear unusual to how it would originally be seen. Although I find it is still possible to make some connections to the subjects I am seeing. It is not all together abstracted to the point of the image being completely unrecognisable.

This seems to be a noticeable feature with a lot of my photographic research as the images retains their connection to reality no matter what I do to try to manipulate them and change the way they are seen, there is always a trace. Perhaps this is a good thing, you know its something from reality but your left to contemplate on perhaps certain features such as the elements that make up the composition of the pictures. Maybe that is mostly what its all about-the composition, the elements? 

14 November 2012

York Art Gallery (Art and Music)

(Malcom Hughes-Study No.3, 1983, Born-1920-1997)

(Luigi Pericle-Supramental Transformation, 1962, Born-1916-2001)

(Oliver Bevan-Flickering Grid, 1965) 

(Wilhelmina Barns-Graham-Orenge Form, 1956, Born-1912-2004)

(William Staite Murray-Motet for Strings, 1937-39, Born-1881-1963)

Recently I had some of my art work displayed in York at the New School House Gallery, so it was a good opportunity to not only see that exhibition but also take some time to explore some of York city centre.

I enjoyed York, I like the way the city retains some of its history and the way some buildings speak their own character. There are maps doted around the place that points you to all the museums so that was useful as from that I found this Museum the York Art Gallery. It was here that I found an exhibtion called "Art and Music" that caught my eye.

What interested me here was the fact the the exhibition was not limited to one material but consisted of painting and ceramics. There seemed to be some shared concerns as such things as shape, line, colour and light had been utilised in some way by the artists. You could get the feeling the curator/s had chose these pieces for their relationships with one and other.

It is interesting I mention shape, line colour and light because I am sure I have mentioned those things a couple of times before, it seems to be something that keeps recurring, something that I can identify or that speaks out to me. Either way this seemed to play an important part in the exhibition, and it had a way of fixating my eye on certain parts of the piece to which I would then have to step back to see it as a whole. Perhaps what I like about this type of work is the playfulness and its juxtapositions of shape and colour, perhaps it's the way it lets my mind run free and lets me make of it what I want to make of it and so therefore I bring in my own associations to it. However one association that douse spring to mind is the built environment and I gess that is because of the geometry used and the individual elements that become suggestive. Or perhaps I only think in this way because the built environment is one current interest of mine and so is it my brain that establishes connections to this?

I did not have a long time to view the exhibition and I did not spend too much time reading the articles. Actually recently I found reading to much into a work can detract me from the actual experience and my own judgements.


10 November 2012

53 Degrees North, York (8 Sep-27 Oct 2012)









When applying for exhibitions you never really quite know if the work will get chosen to exhibit, but when work does get selected it is very rewording. For this exhibition there were awards givern out but unfortunately on this occasion I was not selected. Although it is a little bit sad to here it douse give me strength to keep going and do my best.

It is always interesting seeing the work in different environments and this was especially the case here for the 53 Degrees North exhibition in York. York is quite far away from were I am currently based in Cardiff so I packed my work up and had it sent to their venue and the owners of the galley were very kind as they helped me to display the work and I left it up to them to decide were they wanted to place it. 

It was a surprise then when I managed to find some time to come to York and see the work for my self as I discovered that they had placed it next to someone's painting. This was very interesting as I have never had my ceramic work placed next to paintings before and I felt this worked quite well as it created relationships between my work and the painting behind it. It was as though the eye was forced to look at both works simultaneously. Therefore it seemed to reaffirm that my work does share some kind of connection to painting, I gess it is because of the colours used as there very vibrant and I suppose the colour and the forms harness each other to create something that is quite surreal.

I will keep this display method in mind, who knows if something like this could be used again and it also makes me re-consider now the importance of my own developing paintings and its its potential influence on the ceramic work now and in the future.