Saturday, June 12, 2010
Practice June 12 : mega-molecule arrangment
Sunday, June 6, 2010
Artist ref: Max Gimblett
http://www.gowlangsfordgallery.co.nz/mygallery/
Many of the pieces appeal to me, and bear a similarility in terms of preoccupation with geometry, as combined with spontaneous gestures.
Current works: http://www.maxgimblett.com/current_paintings.html
The quarterfoil form seems to perform the role for Max what the cube does for me. Both being made within a circle or sphere.
Please note: image publishing precednt the publishing of this artist work on a blog, but lkinks that take you to a gallery site. Fair enough.
Finished example: Tinted overlays
Practice : June 5 : Achiving tri-tones
Learning: I have found the subletylimit to for creating 3 tones.
Content difference: Here I intend to discover to what extent an effective 3D effect can be achieved by changing content alone.
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Learning: This was an exercise in quick lateral thinking, the challenge being how to get a maximum range of colours from 4 litres, in meaningful amounts in a way that doesn't hinder the staff accustomed to selling in bulk. 8 base colours were chosen, which can be re tinted lighter and darker with black and white tint effectively giving me 24 tints to play with.
Friday, June 4, 2010
Practice June 4 : Making
Thematic ref: Hyperbolic Geometry
Her artists are responding to global warming issues and in particular, the degradation of coral reefs. Their response takes the form of crocheting corals as this is the only known way to model hyperbolic mathematics - it evades even the most sophisticated computer modeling programmes. Ain't nature wonderful.
Practice June 1: Laser cutting
Getting diamonds cut has been a long and arduous process that involved calculating at which point one should quit a process in order to meet a deadline (assessment) or continue you in order to reach the goal at any cost. Making these boards on a bed saw would result in inaccuracies which may or may not have been fixable. However, there is no disputing the absolute accuracy of the laser cutting method - exact clones of each other. It is a reminder that one must be realistic and rely on a miracle!! In this case a last minute gift form a friend saved the day, and unblocked this project. Even then they were cut wrongly, requiring a further slice to be taken off. The amount of time taken to fix the problem was equivalent to the time it would have taken to do a best guess job in the first place. Proving that time could be found after all.
Practice: May 28
Monday, May 31, 2010
Practice : May 27
Themes: I am pleased that the general intentions of the piece accurately portray the many themes and sub themes that are expressed here. With space, and a carbon atom you can build an entire omniverse full of ever-changing and developing organisms, one of which is capable of contemplating its own existence and expressing it with equal infinite variety.
Mounting: Given that tessellating per se in a continuous background has in effect been well covered, I am intend to explore options of mounting which include leaving spaces so as the create the effect of a large molecule, another reminder of infinite variety of level building.
Overlapping and mounting within another so as to create a 'box in a corner effect' will also be explored.
I can see that mounting at a pronounced angle will add an extra animation and heft element and as though it is midst tumble. This arrangement also creates great flexibility, and provides for replenishment as pieces are sold. This in fact only adds to the effect of its ever-changing continuous creation status, as well as different arrangements.
Thursday, May 27, 2010
Artist ref: Jorge Otezia

Saturday, May 22, 2010
Practice continued
Part solution: An off campus laser cutting company has offered to cut one sheet of wallboard for $45 - providing me with 5 cubes. Sufficient for now. I suspect I will have these 5 before I could receive my first laser cut one in Unitec. In the meantime, I have pressed on with applying my Pollock patterns using white foam board to trail the idea, and to simply break though the impasse and apply some paint! While the material is easy to cut and manipulate, it is also prone to damage and buckling, and so serves as a useful test procedure but is not a suitable permanent medium. This process is more akin to marquetry than cabinet making, requiring fine hand work.
Observation: Even at the early stahes of my Pollock cubes, i can see that adding a 3 dimensional effect, creates the impression of the Pollokian splatters suspended in 3 dimensional space.
Artist ref: Charles Gilchrist : Sacred Geometry


Tuesday, May 18, 2010
Correction
Resolution: I have taken the decision that near enough is good enough and that I will adjust the pieces as I go. I don't need them to all fit each other, just create sets of three - using the rotary sander to correct.
Ultimate solution: I propose to cut laser cut one perfect template from which to set the machine. Underway at time of writing.
Monday, May 17, 2010
Artist ref: John Hurrel

Method: Acrylic on canvas.
Comment: http://www.art-newzealand.com/Issues21to30/grid.htm
Learning:
I can see why people might deride grids and lattice as obvious, but treated right, like this work, I still find delight in seeing it change direction in my mind. This would not happen as easily were it not for the 'randomly' marks that seem to act as shadows forcing the mind to resolve the image. It still dances for me. I am always fascinated by the optical effect that produces a dense spot in the centre of the intersections despite the fact that logically there should be an intensification of the lighter colour. Opposed as I am at this point to the texture of canvas, I find that my resolve is melting. The texture here seems only to add to the liveliness of the image, as though composed of sub-atomic particles that create the whole.
Artist ref: Sol Lewitt

Method: Created by a team of artists under meticulous instructions.
Observation: Love this image, its as though the viewer has to touch it to be convinced it is not actually 3D. From this I can see the power of scale. When an image takes up ones peripheral vision, a different experience is encountered. That the visitor feels he can touch it, would satisfy Lewitt who seems committed to eliminating the distance between art and life by drawing directly onto walls. I am committed at this time to this optical illusions, as though to convey the basic illusion of space.

Materials: wood, paint, various.
Learning: I feel overwhelmed by this image, andstruck by its similarity to the work of Keith Tyson. Whatever motivated Lewitt to be so explicit has not touched me yet. I have along way to go just dealing with trying to express in 2 dimensions.

Materials: Graphic study.
Learning: I find myself surpsrisingly impress with htis study. It acts almost like an animation in my mind in which some unseen mind is trying out the possibilities for simple structure. The mind of God if you will planning the carbon atom. Very cool.

Method: Painted wood.
Learning: I feel there must be something very satisfying from having constructed something so simple that can deliver a powerful inner message. This for me is like experiencing the imformation level of structure minus a form. A proto-skeleton.

Method: Painted wood.
Learning: Of course I relate easily to the intention of the work, but feel I want to suspend it in the air to be more aware of the isometric forms contained there! I cant imagine exploring 3D in the short term, as it feels like 'cheating' the trick, the delight being attempting to make 4 or more dimensional statements in 2. however, i could envisage a time when one might go in a sculptural direction in order to satisfy an Itch to experience the work in a new, sensory way.
Artist RefL Luisa Fong



Methods: Controlled dripping and painting.
Learning: I have always used board partly due to a background in graphics. I trust a medium that stays flat, and smooth. The disadvantage being it is much heavier than canvas. It seems as thought gesso has been used here as a smoothing agent as much as anything else. Worth investigating.