Wednesday, 21 March 2012

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In phenomenology which is the experience of making and building materials and their sensory properties, Francis Bacon (artist), Christopher Tilley (anthropologist and archaeologist) and Tim Ingold (anthropologist) all believe in the importance of the physical, sensory experience of the material world in the context of/versus that of theory.

In addition to this, tacit knowledge reflects the way in which we connect to objects in a sensory way and understand them. It is know-how beyond words, an intrinsic sense of things.

Pallasmaa states, “Touch is the unconscious of vision and this hidden tactile experience determines the sensuous qualities of the perceived object.”

During my Alevel studies in Art and Design I became slightly obsessed with portraying a realistic surface and texture of the object I was studying in painting. Below are two paintings where I was doing this with the aid of grit, sand, hay, wood chippings etc. I also used knives, forks spoons and sticks to paint with to achieve different textures. For example, during the process of painting the green row boat below, I used knives and forks to create the same texture found in the wood.  My final piece was more textural than these pieces but I hope you can get an idea of what I was trying to convey.

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In phenomenology which is the experience of making and building materials and their sensory properties, Francis Bacon (artist), Christopher Tilley (anthropologist and archaeologist) and Tim Ingold (anthropologist) all believe in the importance of the physical, sensory experience of the material world in the context of/versus that of theory.

In addition to this, tacit knowledge reflects the way in which we connect to objects in a sensory way and understand them. It is know-how beyond words, an intrinsic sense of things.

Pallasmaa states, “Touch is the unconscious of vision and this hidden tactile experience determines the sensuous qualities of the perceived object.”

During my Alevel studies in Art and Design I became slightly obsessed with portraying a realistic surface and texture of the object I was studying in painting. Below are two paintings where I was doing this with the aid of grit, sand, hay, wood chippings etc. I also used knives, forks spoons and sticks to paint with to achieve different textures. For example, during the process of painting the green row boat below, I used knives and forks to create the same texture found in the wood.  My final piece was more textural than these pieces but I hope you can get an idea of what I was trying to convey.

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Ingold comments, “might we not learn more about the material composition of the inhabited world by engaging quite directly with the stuff we want to understand: by sawing logs, building a wall, knapping a stone or rowing a boat? Could not such engagement-working practically with materials-offer a more powerful procedure of discovery than an approach bent on the abstract analysis of things already made?”

Ana Mendieta is an artist who often focused on a spiritual and physical connection with the Earth, She states, “I become an extension of nature and nature becomes an extension of my body.”


Ingold furthers this comment by stating how the body cannot be separate from the world because we are apart of the world.

Golden also states that we as individuals should interact with the landscape in order to understand it more.

Andrew Brooks


“Andrew Brooks is a photographer, a digital artist and a film maker living and working in Manchester, Islington Mill.”

 

A crucial element that Brooks tries to portray in his work is atmosphere. He wants the viewers to understand the way he was feeling when he was in that particular location. For example as we see in the picture below we notice the warmth of the sun shining down on us. It draws the audience in and makes us feel like part of the experience, so that the photograph is not just a 2D form.

 

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However what I found quite challenging about his work was that the beautiful photographs, especially the landscapes that you see are in fact made up. In photoshop these days you can produce anything, but to me a photograph represents a true, realistic, element of time, something that exists and we can go and experience.

 

Brooks has done a lot of work based on ‘Secret Cities,’ one of which was ‘Hidden Manchester,’ An important part of his work is to take photographs at all times and all places, in that way you will really discover the hidden details to a city.

 

Below is the link to his website, in particular a recommend looking into his ‘Hidden Manchester’ project.

 

http://www.andrewbrooksphotography.com/

 

...and in his words, "Get to know Manchester and embrace it."

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Hi everyone, I emailed John Davis earlier about booking another meeting with him to explore the slides available in the Visual Resource centre again. Whoever might be interested, he is free on Wednesday at 1.30pm or 4.00pm. If this doesn't suit he also mentioned that he is free almost all of Friday the 23rd of March too.
I'd quite like to go back as soon as I can so I'm going to let him know that I would be interested in meeting at 1.30pm on Wednesday so feel free to join.

Special Collections

This pop-up piece is what caught my eye at the Special Collections centre in the library. It was created by a fairly recent student at Manchester Metropolitan University. Looking back, I am quite surprised that this piece is what caught my attention almost immediately. It stood among work that was completed by extremely talented artists and designers. The fact of it being a 3D paper sculpture also raised interest as it is something that doesn’t usually interest me. However, I really admire the detail and pattern upon the surface which creates an illusion of texture.

 

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Among the work on display in the Special Collections centre in the library was sketchbooks by Peter Reddick. These were for the illustration to an edition of ‘the Return of the Native’ by Thomas Hardy. Peter Reddick’s illustrations provide atmosphere and background to the reader. His work in ‘The Return of the Native’ is viewed as being particularly fine, “dark vistas of Egdon Heath often unroll over two pages with tiny Figures struggling along the pale track ways”.  

 

His subject matter is seen as being deeply traditional cantered on an “immemorial sense of the land and of rural life”. He completed illustrations, however, in a contemporary way. He created the image by “cutting into the end grain surface of a piece of box wood, inking the surface and printing it onto paper”.