I am also running a seperate idea at the same time of drawing several versions of a space where objects change and in return change the perception of the space. this is similar to monets rouen cathedral paintings.
Saturday, 29 September 2012
making boxes
so my original idea that my i'm giving a fair amount of time to is taking 7 boxes and placing a different object in each simply showing how the perception of the same box changes depending whats in it. here are my initial brainstorms and i am beginning to build miniature versions this week. 
Wednesday, 26 September 2012
Monet
The rouen cathedral series of images by monet portray a space changing as a result of a small stimulus, in this case, the sun. this idea is similar to an idea i have of drawing/photograph spaces being changed without actually being modifed.
(source for the following text: http://www.theartwolf.com/monet_cathedral.htm )
"The representation of a same pictorial object at different moments with the aim of observing the changes caused by the natural light was not new for Monet, who between 1890 and 1891 had already created a series of 15 canvases representing a group of haystacks in the outskirts of Giverny. These haystacks had been painted under the summer sun, in the sunrise and in the sunset; at the end of the summer, in the heart of the winter, or in the early spring. The paintings are the result of Monet's interest for the dynamic nature than for any pictorial or scientist theory (Monet himself declared that "I have always hated those awful theories"). The series was praised by the critics, being also a great commercial success. Wassily Kandinsky had the opportunity of seeing one of these haystacks in an exhibition in Moscow in 1895, and he was impressed to the point of suggesting them as the first abstract painting in the history of Art: "And suddenly, for the first time, I saw a picture. I read in the catalogue that it was a haystack, but I could not recognize it (…) I realized that there the object of the picture was missed (…) What I had perfectly present was the unsuspected -and until then hidden- power of the palette…"
But with the Cathedral series Monet went even beyond: here the aim is not to represent a tangible model -as it happened in the haystacks paintings- under different luminances and climatic conditions. In the Rouen Cathedral series, the authentic protagonist is not the architectonic model, in a certain sense "despised" by Monet, who used an extremely nearby point of view, in such way that the architecture, due to the almost complete absence of perspective, loses its grandeur and it is even sectioned in the towers and pinnacles. So the building is here not more than a background, an "excuse", to show the authentic protagonist of the composition: the power of the painting to represent the dynamic quality of the light and the atmosphere, capable of giving life to something as stony and inanimate as the imposing facade of the Gothic Cathedral. That what Kandinsky was able to decipher in the haystacks is here more than evident.
Of course, Monet was obviously unable to represent in a complete canvas the fleetingness of a single moment, so he usually worked simultaneously in several canvases, focusing on a particular one whenever the conditions of light and atmosphere were the appropriates. Let's imagine the situation: Claude Monet installed next to the window of a second floor in front of the Cathedral, working frenetically with tens of canvases, at the mercy of that a fleeting cloud, an unexpected sun ray or an early morning fog forced him to look for a picture in which the new atmospheric conditions could be reflected. Of course, such task had to be exasperating, and the painter was on the verge of giving up the series. But Monet was not a man who easily surrender: " More than ever I detest the things in which I have success at the first attempt ", he had wrote while working on the haystacks series. Monet was even forced to finish several canvases of the Cathedral in his own workshop, entrusting the success of the series to his wonderful visual memory. But two years later, the mission was fulfilled, and Monet had already finished thirty views of the Cathedral. Thus, and for the first time in the history of painting, an artist had managed to represent the fourth dimension, the time, a profit vindicated by numerous pictorial vanguards several decades later
(source for the following text: http://www.theartwolf.com/monet_cathedral.htm )
"The representation of a same pictorial object at different moments with the aim of observing the changes caused by the natural light was not new for Monet, who between 1890 and 1891 had already created a series of 15 canvases representing a group of haystacks in the outskirts of Giverny. These haystacks had been painted under the summer sun, in the sunrise and in the sunset; at the end of the summer, in the heart of the winter, or in the early spring. The paintings are the result of Monet's interest for the dynamic nature than for any pictorial or scientist theory (Monet himself declared that "I have always hated those awful theories"). The series was praised by the critics, being also a great commercial success. Wassily Kandinsky had the opportunity of seeing one of these haystacks in an exhibition in Moscow in 1895, and he was impressed to the point of suggesting them as the first abstract painting in the history of Art: "And suddenly, for the first time, I saw a picture. I read in the catalogue that it was a haystack, but I could not recognize it (…) I realized that there the object of the picture was missed (…) What I had perfectly present was the unsuspected -and until then hidden- power of the palette…"
But with the Cathedral series Monet went even beyond: here the aim is not to represent a tangible model -as it happened in the haystacks paintings- under different luminances and climatic conditions. In the Rouen Cathedral series, the authentic protagonist is not the architectonic model, in a certain sense "despised" by Monet, who used an extremely nearby point of view, in such way that the architecture, due to the almost complete absence of perspective, loses its grandeur and it is even sectioned in the towers and pinnacles. So the building is here not more than a background, an "excuse", to show the authentic protagonist of the composition: the power of the painting to represent the dynamic quality of the light and the atmosphere, capable of giving life to something as stony and inanimate as the imposing facade of the Gothic Cathedral. That what Kandinsky was able to decipher in the haystacks is here more than evident.
Of course, Monet was obviously unable to represent in a complete canvas the fleetingness of a single moment, so he usually worked simultaneously in several canvases, focusing on a particular one whenever the conditions of light and atmosphere were the appropriates. Let's imagine the situation: Claude Monet installed next to the window of a second floor in front of the Cathedral, working frenetically with tens of canvases, at the mercy of that a fleeting cloud, an unexpected sun ray or an early morning fog forced him to look for a picture in which the new atmospheric conditions could be reflected. Of course, such task had to be exasperating, and the painter was on the verge of giving up the series. But Monet was not a man who easily surrender: " More than ever I detest the things in which I have success at the first attempt ", he had wrote while working on the haystacks series. Monet was even forced to finish several canvases of the Cathedral in his own workshop, entrusting the success of the series to his wonderful visual memory. But two years later, the mission was fulfilled, and Monet had already finished thirty views of the Cathedral. Thus, and for the first time in the history of painting, an artist had managed to represent the fourth dimension, the time, a profit vindicated by numerous pictorial vanguards several decades later
Monday, 24 September 2012
this is an article relating my idea of the changing perceptions of space posted by www.sosticky.co.uk
Saturday, July 9, 2011 at 09:54AM
'71 Big Walls' in street art - changing perceptions of public space
Saturday, July 9, 2011 at 09:54AM
Just a quickie this AM - a friend just sent me to '71 Big Walls - A Street Art Collection', curated by Street Art Utopia.
Love the way that these change the way we view and interpret public spaces and tickle the imagination (ew I kind of hate that I just used that expression) by interrupting expectations of 'what is' and delighting people with 'what might be'.
See all 71 walls at Street Art Utopia.
via Sticky Siegal
On another note (I'm going to write more about the ever-expanding city + image cataloguing by Google soon) Red Bull Street Art View (by Loducca) does a fab job of mimicking the Google Art Project by curating a global collection of tagged street art. But more on that later.
More on Red Bull Street Art View:
Later skaters. Enjoy your Saturdays :)
Love the way that these change the way we view and interpret public spaces and tickle the imagination (ew I kind of hate that I just used that expression) by interrupting expectations of 'what is' and delighting people with 'what might be'.
See all 71 walls at Street Art Utopia.
via Sticky Siegal
On another note (I'm going to write more about the ever-expanding city + image cataloguing by Google soon) Red Bull Street Art View (by Loducca) does a fab job of mimicking the Google Art Project by curating a global collection of tagged street art. But more on that later.
More on Red Bull Street Art View:
Later skaters. Enjoy your Saturdays :)
Monday, 17 September 2012
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