daucus carota, day 2 and day 7, graphite on paper (a2)
Showing posts with label movement. Show all posts
Showing posts with label movement. Show all posts
Monday, 9 August 2010
DCs in graphite
klee's watch plants resonated with these drawings of the wild carrots: the first one done on day 2; the last one done on day 7. so, any changes to be observed are clearly due to the plant growing, flowering and moving from bud to seed pot; and not with any inability on my part to observe or draw accurately, of course!
Friday, 6 August 2010
the weekly growth
of my wild carrot bunch lies already two weeks back. i'd be curious to see what they may look like now. should i ask my dad to venture out to the patch (i'm sure he'd find it) and take a pic?
the intervening weeks have been eventful: plenty of reading and a collagraphy workshop at the print studio. i also watch the imagine programme about david hockney. there's two significant things to take from it:
(a) the problem that is western perspective. how it's catapults the viewer out of the picture plane. and hockney's many attempts to re-enter that plane, by focus on movement and by tracking the many perspectives that our eyes actually see as we watch.
(b) presence and mortality in the countryside. it's somehow a bit clicheed: go back to nature to get a sense of beginnings and ends and the neverending cycles thereof. but it nonetheless led to a series of (quiet) notes to myself.
more practically, i took a step towards my idea of temporality of the daucus carota plant by ordering two accordion sketchbooks - hockney's example of drawing the mess of a yorkshire hedge as individual plants in a moving book is being transposed not the wild carrots but the wildly growing border in our backyard.
i'll fill the book with the border. i'm confident that there will be more wild growing plants in the border than the pages in the book. i know that if i was recording flying insects i would loose - there seem to be virtually none around whatsoever. what change to the fields and the field from a month ago.
the moving imagery i find for this is a bit limited...
here's a slideshow of an early part of hockney's 3 years in Yorkshire: a series of watercolour paitings:
And some more of plein air scenes of the same wood throughout the year:
but lushest are probably the stills of his paintings at google.
the intervening weeks have been eventful: plenty of reading and a collagraphy workshop at the print studio. i also watch the imagine programme about david hockney. there's two significant things to take from it:
(a) the problem that is western perspective. how it's catapults the viewer out of the picture plane. and hockney's many attempts to re-enter that plane, by focus on movement and by tracking the many perspectives that our eyes actually see as we watch.
(b) presence and mortality in the countryside. it's somehow a bit clicheed: go back to nature to get a sense of beginnings and ends and the neverending cycles thereof. but it nonetheless led to a series of (quiet) notes to myself.
more practically, i took a step towards my idea of temporality of the daucus carota plant by ordering two accordion sketchbooks - hockney's example of drawing the mess of a yorkshire hedge as individual plants in a moving book is being transposed not the wild carrots but the wildly growing border in our backyard.
i'll fill the book with the border. i'm confident that there will be more wild growing plants in the border than the pages in the book. i know that if i was recording flying insects i would loose - there seem to be virtually none around whatsoever. what change to the fields and the field from a month ago.
the moving imagery i find for this is a bit limited...
here's a slideshow of an early part of hockney's 3 years in Yorkshire: a series of watercolour paitings:
And some more of plein air scenes of the same wood throughout the year:
but lushest are probably the stills of his paintings at google.
Thursday, 22 July 2010
daucus carota
... is all i'm saying and seeing these days.
thoroughly back in the fields, there's no metropolitan video art to keep me distracted. instead, i'm with the weeds - one of the 'usefuls' [someone will giggle afar], as the pragmatic german language defines.
the wild carrot. daucus carota. or queen anne's lace.
someone has a better camera than i do. and while i'm patiently doing 50x70cm studies each day of my favourite bundle of wild carrots, i fear i'll be missing some of the details on this page. but, i may just as well have 1/3 sec [7 frames] of a daucus carota animation movie.
fields in detail. and in movement. phew. that seems to be going to somewhere new, doesn't it? maybe a little bit.
here's someone else's fascination with the wild carrots.
thoroughly back in the fields, there's no metropolitan video art to keep me distracted. instead, i'm with the weeds - one of the 'usefuls' [someone will giggle afar], as the pragmatic german language defines.
the wild carrot. daucus carota. or queen anne's lace.
someone has a better camera than i do. and while i'm patiently doing 50x70cm studies each day of my favourite bundle of wild carrots, i fear i'll be missing some of the details on this page. but, i may just as well have 1/3 sec [7 frames] of a daucus carota animation movie.
fields in detail. and in movement. phew. that seems to be going to somewhere new, doesn't it? maybe a little bit.
here's someone else's fascination with the wild carrots.
Tuesday, 25 November 2008
Travelog
Lindsay's Maps and Destination Moley
36x14cm, Pen, ink and neo ii
The most recent moley I had from the exchange had gone travelling with me to London, Berlin and back to Glasgow. I like the idea of figuring out what to do next in each moley a lot: it's storytelling as process, and it's interesting to see how different each of us deals with the storytelling.
So: mine was action drawing... hahaha... on 9x14cm with a pen... no paint dribbles in sight.
Have a look - out of the window on the 9:39 am Glasgow - London Euston for 20 mins or so; a tube ride from Mile End to Victoria, until someone sat next to me and obscured the view; after breakfast in my friends' living room in Berlin when they had gone for work; and yet another airport queue in Schoenefeldt while the passport control was slow as usual. I coloured in when back home.
Lindsay's Maps and Destination Moley
9x14cm, Pen, ink and neo ii
Lindsay's Maps and Destination Moley
9x14cm, Pen, ink and neo ii
Lindsay's Maps and Destination Moley
9x14cm, Pen, ink and neo ii
Lindsay's Maps and Destination Moley
9x14cm, Pen, ink and neo ii
Tuesday, 13 November 2007
Sketches in movement
Glasgow - Birmingham, 14:02, 9 November 2007Graphite in Moleskine, 24x21cm
On the train, wizzing through the Scottish Lowlands... Pine trees on hill tops, below a brooding sky. A few larches here and there introduce some yellows.
A bit further south, it is hedges against the sky. Spindly and barren, they structure the fields, set apart and link together, guiding the eye up to the horizon line and into the clouds.
Glasgow - Birmingham, 14:02, 9 November 2007Graphite in Moleskine, 24x21cm
.
Monday, 3 September 2007
Festival sketching
I went to a music festival for the weekend - it took place in a beautiful part of Argyll, so for the landscape and for the people I took my sketchbook along. Yet, with it larger than my bag (note to self: get a smaller sketchbook when there is really no space extra) I left it at the place where we stayed.
Sketching all those people would have been a real challenge for me - with some life drawing I can get to grips with more detailed anatomy but the generic 'masses of people in a distance' way of sketching still evades me. So, there's something else to add to my to do list: look up and find out how to do figures in groups, distance and in a general way.
Another visual arts-related observation concerned the sense of vibrancy and movement. How do you capture and (re-)present people moving, music in the air and vibrancy? I don't mean drawing people simply with their arms in the air or one foot off the ground but other ways of getting that sense of movement.
I tried to get to this sense with one of the desert paintings - the Spring in the Sky one here - where my initial impulse came from a drive through the desert on the way to Tel Aviv airport and one hill after another buzzing by - yet, if you look at the resulting study, it is as static as can be: it ended up being about spring colours in the desert and there no sense of movement whatsoever.
Of course, the Italian futurist movement in the early 19th century, most notably Giocomo Balla's Dog on a leash, explored modernity through dynamic movement.
Giocomo Balla, Dog on a Leash,
oil on canvas, 1912, Buffalo Fine Arts Academy
I think I need another round of finding some information not only on the Futurists but also other ways of depicting and capturing movement.
A website I just came across in my search for Balla was the art education site Art in Motion - Capturing movement in art - initially targeting secondary school children, it offers a good starting point to the study of movement and the various ways to capture it in sculpture, painting and drawing.
Sketching all those people would have been a real challenge for me - with some life drawing I can get to grips with more detailed anatomy but the generic 'masses of people in a distance' way of sketching still evades me. So, there's something else to add to my to do list: look up and find out how to do figures in groups, distance and in a general way.
Another visual arts-related observation concerned the sense of vibrancy and movement. How do you capture and (re-)present people moving, music in the air and vibrancy? I don't mean drawing people simply with their arms in the air or one foot off the ground but other ways of getting that sense of movement.
I tried to get to this sense with one of the desert paintings - the Spring in the Sky one here - where my initial impulse came from a drive through the desert on the way to Tel Aviv airport and one hill after another buzzing by - yet, if you look at the resulting study, it is as static as can be: it ended up being about spring colours in the desert and there no sense of movement whatsoever.
Of course, the Italian futurist movement in the early 19th century, most notably Giocomo Balla's Dog on a leash, explored modernity through dynamic movement.
Giocomo Balla, Dog on a Leash,oil on canvas, 1912, Buffalo Fine Arts Academy
I think I need another round of finding some information not only on the Futurists but also other ways of depicting and capturing movement.
A website I just came across in my search for Balla was the art education site Art in Motion - Capturing movement in art - initially targeting secondary school children, it offers a good starting point to the study of movement and the various ways to capture it in sculpture, painting and drawing.
Subscribe to:
Posts (Atom)