Wednesday, April 30, 2008
Tuesday, April 29, 2008
EXP-2 ELECTROLIQUID AGGREGATION
Some impossible construction can be solved amazingly which will work more than it is expected but still there is some impractical construction for which we never can provide any explanation.
Jane Goodall+ Stephen Hawkins
Jane Goodall+ Stephen Hawkins
Tuesday, April 22, 2008
Tuesday, April 15, 2008
EXP-2 JANE GOODALL
“My reason for hope is the incredible resilience of nature. I have visited Nagasaki, site of the second atomic bomb that ended World War II. Scientists had predicted that nothing could grow there for at least 30 years. But, amazingly, greenery grew very quickly.” – Jane Goodall
http://www.janegoodall.org/jane/essay.asp
EXP-2 STEPHEN W HAWKING
“The event horizon, the boundary of the region of space-time from which it is not possible to escape, acts rather like a one-way membrane around the black hole” – Stephen W Hawking
'A BRIEF HISTORY OF TIME'
'A BRIEF HISTORY OF TIME'
EXP-2 FLORENCE NIGHTINGLE
"IF YOU KNEW WHAT A HOME THE CATHOLIC CHURCH WOULD BE TO ME- ALL THAT I WANT I SHOULD FIND IN HER. ALL MY DIFFICULTIES WOULD BE REMOVED. I HAVE LABOURIOUSLY TO PICK UP THREE CRUMBS BY WHICH TO LIVE; SHE WOULD GIVE ME DAILY BREAD." - FLORENCE NIGHTINGALE
'THE COLLECTIVE WORKS OF FLOURENCE NIGHTINGALE'
'THE COLLECTIVE WORKS OF FLOURENCE NIGHTINGALE'
Sunday, April 13, 2008
MATERIALS-STELL,GLASS,TIMBER AND CONCRETE
SOFTWARES: SKETCH UP,PHOTOSHOP (FOR PRESENTATION)
I USED SYDNEY NOLAN’S ARTWORK ‘KELLY HEAD IN ARID LANDSCAPE’ FOR ABOVE GROUND. THE WORD ASSOCIATED WITH THIS IMAGE WAS WASTELAND. FOR BELLOW GROUND I USED RICKY SWALLOW’S ‘EVERYTHING IS NOTHING’ SCULPTURE. THE WORD ASSOCIATED WITH THIS IMAGE WAS SKULL.
FOR ABOVE GROUND THE CONCEPT WAS A BIG PIPE IS CARRYING INDUSTRIAL WASTE TOWARDS TO A SOILED POND WHICH IS FULL OF WASTE. TO ILLUSTRATE THAT IDEA I USED THE BIG CIRCULAR SHAPE WHICH REPRESENTS THE PIPE AND THE CONCEPT OF CARRING WASTE. THE STRUCTURAL COLUMNS WHICH ARE SUPPORTING THE PIPE HAS A DUAL REPRESENTATION OF BOTH A FACTORY STRUCTURE AND ON A MORE MORBID NOTE A RIBCAGE. THROUGH THE PIPE THE WASTE IS GOING TO A POND WHICH IS REPRESENTED BY THE TRIANGLE SHAPE. THIS FIGURATIVE POND CONTAINS VAST AMOUNT OF WASTE. THE STAIRCASE WHICH IS ASSOCIATED WITH THE ABOVE GROUND AREA IS THE ZIC ZAC SHAPE STRUCTURE. THIS ENOMEROUS STAIR HAS A SATIRICAL REPRESENTATION OF CONSUMERISM THROUGH ITS WASTEFUL USE OF MATERIALS AND SPACE. RED COLORED GROUND SIGNIFIES THE EARTHLY UNDERTONES USED IN SYUDNEY NOLAN’S LANDSCAPE.
FOR THE BELOW GROUND AREA THE ANGULAR SHAPE REPRESENTS THE HUMAN SKULL. THAT SKULL INCASES THE HUMAN BRAIN. THIS FIGURATIVE SKULL IS PROTECTING THE INSIDE (THE BRIAN) WHICH VERY IMPROTAN AND ESSENTIAL. IN TERMS OF RICKY SWALLOW HIS WORK IS VERY IMPORTANT AND HE IS KEPPING HIS WORK IN THIS SECURE PLACE. THREE FLOOR LEVELS REPRESENT THE DIFFERENT MEDIAS HE IS BEEN USING FOR HIS SCULPTURES. THE RED COLORED GROUND IS SEPARATED FROM THE STRUCTURE. THE GAP BETWEEN THE STRUCTURE AND GROUND SIGNIFIES THE DISTANCE BETWEEN LIFE AND DEAD. THE RED COLOUR GROUND IS REPRESENTING THE LIFE. THE STAIRCASE FOR SKULL IS THE SQUER BOXES SITTING ON TOP OF EACH OTHER.THIS STAIR REPRESENTS THE SPINAL COLUMN.
Tuesday, April 8, 2008
Monday, April 7, 2008
RICKY SWALLOW
.
.
.
.
.
.
.
.
.
.
.
.
.
.
RICKY SWALLOW IS AN AUSTRALIAN SCULPTOR. A MASTERCRAFTSMAN CARVING OUT A SIGNIFICANT NICHE IN THE ARTWORLD.HE BORN IN 1974, SAN REMO, VICTORIA. HE DID HIS BACHELOR OF FINE ART MAJOR, DRAWING FROM VICTORIAN COLLEGE OF THE ARTS; MELBOURNE IN 1994-96.HE DID HIS EVERYTHING IS NOTHING SCULPTURE OUT OF CARVED WOOD. I ASSUME HE CURVED THE TIMBER AND REFINED IT. IN HIS WORK THE MONOCHROMATIC TIMBER AND THE DRAMATIC SIDE-LIGHTING CREATE A STRONG SHADOWS AND HIGHLIGHTS, POINT TO THE INHERENT UNREALITY OF TRANSCRIBING ANIMATE FORM INTO INANIMATE MATERIALS.
HE USED MANY DIFFERENT TYPES OF MIDEA BUT SINCE HE STARTED WORKING WITH WOOD HE FINDS IT BEST MEDIA TO CHALLENGES HIMSELF AT ALL TIME.
HE ALSO TRIES TO MAKE THE SCULPTURE TO COMMUNICATE WITH US.IIT IS AMAZING THAT IN HIS KILLING TIME HOW HE TRACK A FISH FIN OR THE SEAM OF A BEANBAG TO ANIMATE THE FORMS AND VITALISE THEM TO COMMUNICATE WITH US. HE CHANGES OUR RELATIONSHIP WITH THE EVERYDAY AND SO ENRICHES US.
HE USED MANY DIFFERENT TYPES OF MIDEA BUT SINCE HE STARTED WORKING WITH WOOD HE FINDS IT BEST MEDIA TO CHALLENGES HIMSELF AT ALL TIME.
HE ALSO TRIES TO MAKE THE SCULPTURE TO COMMUNICATE WITH US.IIT IS AMAZING THAT IN HIS KILLING TIME HOW HE TRACK A FISH FIN OR THE SEAM OF A BEANBAG TO ANIMATE THE FORMS AND VITALISE THEM TO COMMUNICATE WITH US. HE CHANGES OUR RELATIONSHIP WITH THE EVERYDAY AND SO ENRICHES US.
SYDNEY NOLAN
AS ONE OF AUSTRALIA’S PREMIER ARTISTS, SIDNEY NOLAN IS WELL RECOGNISED IN THE ART WORLD FOR HIS DRAMATIC CONTRASTS BETWEEN LIGHT AND UPLIFTING CONCEPTIONS TO HIS DARK AND GLUM THEMES. HIS WORKS HAVE ALWAYS INTRODUCED A SENSE OF ORIGINALITY AND SPONTANEITY TO THE ART WORLD. HIS ORIGINALITY CAME ABOUT FROM VAST AMOUNTS OF EXPERIMENTATION WITH BOTH ARTISTIC TECHNIQUES AND MATERIALS. HE DIDN’T RELY ON A SINGLE SOURCE OF INSPIRATION; RATHER HE TRIED TO DEVELOP HIS OWN CREATIVE IDEOLOGY BY MIXING BOTH HIS OWN TECHNIQUES WITH OTHER VARIOUS SOURCES.
SIDNEY NOLAN’S FORMAL TRAINING BEGAN AT THE NATIONAL GALLERY OF VICTORIA SCHOOL OF ART. HOWEVER, AFTER A PERIOD OF TIME HERE HE FELT COMPELLED TO EXPLORE AND EDUCATE HIMSELF ABOUT ART. IT WAS DURING THIS TIME THAT NOLAN REALLY DEVELOPED A CONNECTION WITH HIS BIGGEST INFLUENCE, THE FRENCH ROMANTIC POET, AND ARTHUR RIMBAUD. THE IMAGE OF RIMBAUD REPEATEDLY SURFACES IN NOLAN’S WORK AND THUS REINFORCES HIS INFLUENCE AND CONNECTION WITH NOLAN.
SIDNEY NOLAN WAS AN ARTIST WHO PRODUCED A PROLIFIC AMOUNT OF WORK WHICH COVERED A HUGE DIVERSITY OF MEDIUMS. HIS WORKS INCLUDED DRAWINGS, OIL ON CANVAS PAINTINGS, SCREEN PRINTS, LITHOGRAPHS AND COLLAGES. HIS UNASSUMING STYLE OF WORK ISN’T JUST ABOUT SIMPLICITY. HIS WORK EVOKES A SENSE OF MEANING AND PASSION. HE CAPTURES THE ESSENCE OF THE SUBJECT WEATHER IT BE A LANDSCAPE OR A FIGURE BY TELLING AN EVER EVOLVING STORY OF SELF INTERPRETATION.
FOR HIS 'KELLY HEAD IN ARID LANDSCAPE' DRAWING HE USED RIPOLIN AND OIL ON BOARD. HIS COOLERS ARE ALSO VERY BRIGHT AND DARK. PERHAPS BEFORE HE STARTS PAINTING HE WASHED THE CANVAS WITH COLOR AND THEN STARTS PAINTING OVER IT.
SIDNEY NOLAN’S FORMAL TRAINING BEGAN AT THE NATIONAL GALLERY OF VICTORIA SCHOOL OF ART. HOWEVER, AFTER A PERIOD OF TIME HERE HE FELT COMPELLED TO EXPLORE AND EDUCATE HIMSELF ABOUT ART. IT WAS DURING THIS TIME THAT NOLAN REALLY DEVELOPED A CONNECTION WITH HIS BIGGEST INFLUENCE, THE FRENCH ROMANTIC POET, AND ARTHUR RIMBAUD. THE IMAGE OF RIMBAUD REPEATEDLY SURFACES IN NOLAN’S WORK AND THUS REINFORCES HIS INFLUENCE AND CONNECTION WITH NOLAN.
SIDNEY NOLAN WAS AN ARTIST WHO PRODUCED A PROLIFIC AMOUNT OF WORK WHICH COVERED A HUGE DIVERSITY OF MEDIUMS. HIS WORKS INCLUDED DRAWINGS, OIL ON CANVAS PAINTINGS, SCREEN PRINTS, LITHOGRAPHS AND COLLAGES. HIS UNASSUMING STYLE OF WORK ISN’T JUST ABOUT SIMPLICITY. HIS WORK EVOKES A SENSE OF MEANING AND PASSION. HE CAPTURES THE ESSENCE OF THE SUBJECT WEATHER IT BE A LANDSCAPE OR A FIGURE BY TELLING AN EVER EVOLVING STORY OF SELF INTERPRETATION.
FOR HIS 'KELLY HEAD IN ARID LANDSCAPE' DRAWING HE USED RIPOLIN AND OIL ON BOARD. HIS COOLERS ARE ALSO VERY BRIGHT AND DARK. PERHAPS BEFORE HE STARTS PAINTING HE WASHED THE CANVAS WITH COLOR AND THEN STARTS PAINTING OVER IT.
Subscribe to:
Comments (Atom)