Posts Tagged ‘pouring

04
Jun
12

Seana Reilly : Graphite Works

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I make this work because I am intrigued by the play between the loose organic line and the tight architectonic line, the natural world and the intellectualized account of the natural world, the fact and the symbol for the fact, the life of the body and the life of the mind.” ~ Seana Reilly

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‘ThriceSurfeit’
Graphite on paper
Seana Reilly
8” x 8”
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‘InviolateRush’
Graphite on paper
Seana Reilly
8” x 8”
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‘ResolvingKazimir’
Graphite on Dibond
Seana Reilly
48” x 48”
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‘Spillway’
Graphite on Dibond
Seana Reilly
12” x 12”
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‘ThermalRise’
Graphite on Dibond
Seana Reilly
12” x 12”
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‘FractureGradient’
Graphite on Dibond
Seana Reilly
12” x 12”
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‘SecondaryVenting’
Graphite on Dibond
Seana Reilly
30” x 30”
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In my current body of work I am pouring a graphite preparation onto a non-porous surface, then using the same forces that shaped the earth to shape my imagery – gravity, fluid dynamics, sedimentation, and erosion. My use of graphite in these works speaks to both the arts and the sciences; it simultaneously references the artistic practice of drawing, vast geologic processes, and the carbon-base of all life forms. While pouring the liquid graphite, I restrain parts of the organic flow through architectural interventions or impediments. These constraints draw attention to the discrepancy between the natural physical properties of earth-based materials and the forms of control, both physical and mental, that humans routinely superimpose over them. The creation of the graphite ground is an exercise in giving up control, letting nature take its course. My interventions allude to human efforts to understand, classify, and mentally subdue those acts of nature. Semiotics, science, and Buddhist philosophy are all source materials for my work, which is a further exploration into insights gained during my years practicing Vipassana meditation. Through this practice I became aware of a break between the physical world and my mental perceptions of that world. I was able to experience the physical without attaching emotional or mental constructs to it – to separate the sensation of an itch from the urge to scratch it. The making of these works also allows me to experience vast geologic processes on a more intimate scale. It is my way of participating in this humbling immensity, a way to hold a small piece in my hand. It is the Tao’s world in a blade of grass. It is Joan Didion’s sense of belonging and purpose in an earthquake… ~ [ Seana Reilly : Artist Statement ]

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Seana Reilly : Website

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07
May
12

Janet Jones : ‘Notations’ Series (Collages)

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‘Notations #41’
6 x 6 inches
Collage
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‘Notations #7’
6 x 6 inches
Collage
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‘Notations #48’
6 x 6 inches
Collage
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‘Notations #21’
6 x 6 inches
Collage
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‘Notations #37’
6 x 6 inches
Collage
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‘Notations #42’
6 x 6 inches
Collage
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‘Notations #39’
6 x 6 inches
Collage
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“My series is called Notations, and reflects my love of letter forms and typography, of words and language, and a delight in the visual and tactile properties of old books and documents, especially those that are creased, stained and foxed. I’m interested in surface variations and the play of light on shiny areas contrasting with the velvety softness of old papers. In a larger sense, they’re about communication, nuance and layers of meaning. I’ve stencilled some letters in shiny etching ink, occasionally adding metal leaf, and printed letterpress ornaments and a Chinese character. Some papers have been prepared by pouring and splattering India ink. The tiny photographs are my mother at ages 20 months, 3 years, and 25. Other images are from dictionaries and old steel engravings.” ~ JJ

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Janet Jones : Website

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