Paul Bowles in the medina of Tangier, Morocco in An inveterate traveler, composer and writer, Paul Bowles was a truly remarkable figure whose life and work embodied and responded to major impulses of the twentieth century. His life would be of considerable interest even had he not produced numerous musical scores, four novels, more than sixty short stories, many travel pieces, an unrevealing autobiography and dozens of translations of stories by Moroccan storytellers. Burroughs, Allen Ginsberg and Patricia Highsmith.
They recognise patterns in the chaos. They identify fragments as being part of the whole. One thing happens, and then another so only by two events occurring can a formulation of time come into being.
A fleeting moment, although ephemeral can be profound and precious. My current work uses this optimistic idea as motivation to make formally based sculptures and paintings.
Particularly they explore line, colour, and time. The works are developed by interaction with each other and I use photography as a tool for close observation. Materials used include rope, thread, paint, acrylic sheeting, PVC, nylon thread, irrigation piping, Play-Doh, string, balsa, and lighting.
I want a sense of stopping time so we can have the chance to consider each moment more carefully. Particular emphasis is placed on human gesture, such as repeated subtle wrappings or the trace of a movement in paint.
This is based on the notion that time can only be explained as a by-product of an event . It is something that connects us. Rather I am interested in the value of capturing a sense of time and movement and trace of human presence through artworks.
My aim is to create opportunity for the quiet contemplation of something subtle, optimistic and pure in the context of a busy contemporary world. He describes the way a fleeting moment can be captured in our perception. The movement is stopped while the world moves around it. This way of regarding time is particularly pertinent to my work.
Much of my work explores the notion of a trapped moment. It might be a moment that has been captured either by a repeated human action or by a trace of a movement. It involves the representation of a form which has come to stand in for the idea of movement.
Here, the assumption is made that movement is inherent in a fleeting moment. The work of sculptor and film maker, Len Lye has explored this by making sculptures which literally move . While related, my work explores more the sense of movement and the distillation of the sort of moment TS Elliot alludes to.
This idea of translation sits well with me. In this way, rather than being didactic, the introduction of another point of view or opportunity for contemplation may reveal something otherwise not noticed. It can be quieter but just as strong in its impact.
My work is based on observation from the world we live in, but does not necessarily reproduce an aspect of that world. Rather it aims to capture an essential quality of it. According to Roger Fry the essence of a subject was something that Cezanne and his followers explored.
They do not seek to imitate form, but to create form; not to imitate life, but to find an equivalent for life. Osborne describes Abstraction as the process of generalisation and simplification .
It is this sense of distillation which is present in my work. One of the predominant formal properties in my work is line. This is because line indicates time through its continuous nature. It can also represent a trace of a movement or gesture and, as such, become a record of a captured movement or moment of time.
A line can be both energetic as well as calming and still. A line is ideal for contemplation. Colour is also a strong formal element in my work. Here, colour speaks of optimism and is a method of engaging the viewer through the use of bright colours . According to Rudolph Arnheim colour is also a method of discrimination in the way humans perceive an object visually .
Equally, placing complementary tones together creates vibrancy while slight tonal variations speak of subtlety. The Minimalists emphasised formal properties over representation or narrative .
However, my work does not completely fit within Minimalism as it is clearly handmade. The move away from representation is deliberate in the hope that the work would be strengthened by its seemingly simplified and pure forms.
This is an effort to speak of something precious, beautiful or sublime without the possible risk of sentimentality.University of Wisconsin Art Department Faculty Exhibition Catalogues: Click the link to a particular catalogue, then click "Foreward", "Introduction", or the title of text content to see the curatorial essay(s) for each catalogue.
i ng,' docs the second half of thc essay connect closely t•nough wit Ii EXHIBITION CATALOG I do not know any reading 1non· pasy, ort" fa~ci11ating. mT dcli glitfnl • artist's name and dates if known, for instance: Greek (fifth century sc).
The catalog essay is one of the most important forms of art writing.
If you have been asked to contribute an essay to an art catalog, chances are great that you already are familiar with the artist in question. You may even be a friend of hers. While it may seem daunting at first, writing an art.
Inquisition of Heather Darcy Bhandari, artist advisor and curator; Inquisition of Jason Gringler, painter; Inquisition of Rob Carter, photo and videographer Category: Exhibition Catalogue Essays. Just Before the Dawn: The Work of Matt Bahen. May 17, January 17, Randy Gladman 2 Comments.
Coming Soon. Peter Hammill/urbanagricultureinitiative.com CD $ X/Ten is a live album drawn from Peter Hammill's tour versions of material from his studio release, From the Trees.
Artist Shop Newsletter (The Artist Shop Newsletter comes out every couple of weeks. If you'd like to be on the e-mail list, just drop me a urbanagricultureinitiative.com the same to unsubscribe or change your address.).