Title: As if to Celebrate, I Discovered a Mountain Blooming with Red Flowers
Medium: Pigments, wood and plaster
Anish Kapoor’s sculpture, in a cliched nutshell, is a mountain of spices in India with a samosa, or a mountain representing India with its colourful vibrant colours. I rather think it is a symbolism on the Indian culture (also my heritage).
I just bought this book for a great summer read.
It tells how create geometry, broken down into small chunks for beginners in the art of geometry.
“Across the Islamic world, illuminating Korans from Morocco to Malaysia, and adorning Mosques, mausoleums… In this book, Sutton unravels the mysteries of Islamic patterns”
This is a part of STONE Project called the Equilibrium of Opposites. It’s about linking people and artists through STONE; sculpture is everywhere: “Everyone on earth is connected to stone. Stone is the backbone of our planet and the foundation of our existence. Often we forget this, or have not yet noticed.”
I discovered this great article on twitter:
This article suggests that unlike most Galleries and Museums where viewers are told what the art is and what it is about; Tate Britain have opened an exhibition whereby the viewer is told “…only the name of the artist with his birth and death dates, the title of the painting and the year it was painted. What Curtis has understood is that pictures on show in a public gallery are themselves primary data. You study history so that you can understand them, not the other way around. And anyway, who says they need to be studied? Gallery visitors should be allowed to have their own responses to the art in front of them, not told what to think by the curator.” Although I don’t always know what the artwork is about, I always look at the information beside the artwork to incline me towards some conclusion. However, sometimes when I do understand the artwork I would prefer not to be told otherwise; which is what this Curator is enticing the public towards. Sometimes artwork can confuse the viewer when their personal opinion is different to the artists’ which could act as a deterrent for the public from visiting art galleries and museums at all, as it has done in the past.
This is Thomas Tomasska’s design on a card:
#015: Sketch #3
The geometric patterns on these professional hand-made cards are influential for my practice to say the least. Thomas says he creates geometric patterns using influences derived “… from such disparate subject-matter as the frosty roof of a Nissan Micra, French street signs, tent toggles and squashed toads, these ideas have all been incorporated into my book designs, taking form along their own natural route, just as the potential for other, fragmentary aspects of my creative practice – elements of collage, drawings, thumbnail sketches and doodles – is fulfilled by their assimilation into book form.”
The thinness of the line, the reflected patterns, and the opaque lines in the background are all alluding to a picture of steadfastness and humility for the peaceful heart. I think it reveres the notion of ‘a simple life’; living harmoniously around nature at a time when global warming is a threat and a war is going on silently somewhere [or everywhere else] in the world. The silent background is but a smudge on this canvas while the reality is that 70% of the world is developing, as 30% with the stronger darker lines are wasting resources that could be used for better purposes.
When I first saw these prints I immediately recognised the similarities within my own work. As I first drew a doodle with my pen, I saw a potential repetitive pattern formed in a circle that influenced me to create these:
To the left are the doodles I repeated using tracing paper to create the patterns.
These patterns are from the same drawing shown on the right; despite these being from the same original pattern/doodle the continuity of the lines look almost completely different. One looks very closed and geometric while the right one looks open and more free and tranquil and more steady.
Thomas’ business card