This is the first of a series of experiments in a process of crushing the almonds, the shells and the hulls to the maximum. In this experiment I crushed almonds and placed them on paper to see whether they will leave oily marks on it. Next step will be to apply Roth’s techniques, mentioned earlier, in mixing organic material with chemical mediums eg. plaster.
Using the almond oil as the medium/ creating patterns on paper and placing the paper against light. I put the initial small scale experiments (40x30cm) against a warm light/oval lamp shade, as a reference to the heat and light required for the almonds to grow – this being a common aspect in all places in the world producing almonds. I then tried to work on a bigger scale (150x150cm) – the patterns work equally well, maybe better than the small scale/ bigger gestural movements, but the day light gives a “colder” effect.
43.93 Luna Imaging, Inc. 800-452-LUNA (5862)
Roth was mentioned by Michele Whiting during our tutorial and I did some research on his work. He used organic materials as the medium in his work, like cheese and chocolate.
Dirk Bobke and Thomas Kellein, Dieter Roth: Books + Multiples: Books + Multiples – Catalogue Raisonne, published by HansjÃ¶rg Mayer; Har/Com edition, 2004
Why don’t you have a go at something you hate? A title of an article on the OCA’s Weekender E-bulletin that caught my eye. I started cutting a piece of work that I made a few days ago. First, in large shapes trying to follow or go against the patterns already created on paper. Then I started cutting rectangular pieces. I had no plan in mind. Then I remembered a comment by Angela about the circularity of the valtz so I cut more circular shapes, trying to make them look like almonds.They looked more like eggs. Then, I cut thin strips of paper which I then put together in circular shapes, trying to visualize the movements of the valtz rhythm.
Using the almonds I scratched an oil paint surface to create imaginary landscapes. Predetermined outcome? Not much of an exploration? Most probably, but I enjoyed getting my hands dirty with paint after quite sometime.
http://www.tate.org.uk/research/publications/tate-papers/10/cy-twombly-humanist-upbringing (accessed 10.03.2017)
(from point 32) The series, Poems to the Sea (imagebelow), of 1959, makes manifest Olson’s demand that humans must find their proper relation to nature and look to it for the principles of formation that ceaselessly advance from it. In 1957 Twombly described a ‘synthesis of feeling, intellect etc. occurring without separation in the impulse of action.As Olson would have liked, each image is a site of activity – of sensate energies transformed to intellection, then action. As a group, we see serial experimentation and a succession of phenomenological states. An open architecture of knowledge emerges – instinctual, emotional, abstract, logical – all formed from nature organically, if not always coherently or smoothly.
Poems to the Sea 1959
Andrew Horton, “The Master of Slow Cinema – Space and Time – Actual, Historical and Mythical – in the Films of Theo Angelopoulos”, Cineaste, Winter 2010, pages 23-27
- The work of the film director Theo Angelopoulos/ Eternity and a Day – slow down, observe and listen – space as a continuous time/ the landscape becomes a character in the film (p.23)
- Milan Kundera/ “why has the pleasure of slowness disappeared”/ “speed is the form of ecstasy the technical revolution has bestowed upon man”/ the resulting fragmentation of time also breaks up our experience of both place, wherever we are, and space, whether internal or external (p. 23)
- “… there is no dialogue, which enables us to focus completely on the remarkable panorama we see and experience in uninterrupted time” (p.25)
- in Ulyses Gaze, the director shot the scenes in the actual places that the protagonist visited according to the plot (areas like the wartorn Sarajevo) – the space becomes part of the narrative (p.25)
- Eleni Karaindrou composed the soundtracks in most of Angelopoulos films
- Eternity and a Day. (1998) Directed by Angelopoulos, Th. [DVD] Athens: Angelopoulos, Th., Heumann, E. and Silvagni, G.
“I work in a landscape made rich by the people who have worked and framed. I can feel the presence of those who have gone before me. This puts my own life into context. My touch is the most recent layer of many layers that are embedded in the landscape which in turn will be covered by future layers – hidden out but always present”. p.7 Andy Goldsworthy, Time (London: Thames & Hudson, 2008).
“My work is about medium and new process” – for Anatsui art should be made with materials from the artist’s immediate environment, p.103 Susan Mullin Vogel, El Anatsui – Art and Life (London: Prestel Verlag, 2012).
Anatsui, El. Bleeding Takari II (2007) [Aluminum and copper wire, 393.7 x 576.6 cm, MoMa New York] At www.moma.org/collection/works/116286?locale=en (accessed 10.05.2017)
“I consider my works made in the landscape to be part of a body of work that is far more complex. for thirty years, i have built what i describe as a library of experience and place… I draw from this library to make connections to other disciplines; it also helps to create a context for different ways of looking nature, to explore the way systems in our bodies also exist in weather systems, river networks, and the formation of cells and galaxies. this investigation of both the microcosm and the macrocosm has brought about a dialogue with scientists, technicians, ecologists and communities of people. My art has eveolved through direct experiences, by looking at the world and by recognizing that I am part of it, not separate from it, and then by making meaningful connections. I act at the interface“. p. 5, Ann M. Wolfe, Chris Drury – Mushrooms/Clouds (Chicago: The Centre for American Places at Columbia College Chicago, 2008)
Drury, Ch. Mushroom Cloud (2010) [A mushroom cloud of over 6000 pieces of dried fungi slices, sealed in acrylic and suspended between a steel frame and the floor on nylon thread – lit from beneath] At http://chrisdrury.co.uk/mushroom-cloud/ (accessed 12.05.2017)