Having previously come across Cage’s stunning ‘Ryoanji’ series of drawings and prints from the 1980’s, (see John Cage: Ryoanji Series) inspired by his visit to the Ryoanji temple in Kyoto. I was familiar with the working processes and concept of employing ‘chance’ to dictate the compositional properties and physical application of mark for these pieces. After undertaking further reading around the series I had Continue reading
My approach to Art is somewhat unorthodox and contradictory.
Traditionally a visual entity – accessible through the eyes, the visual appearance is of course very important. Art has always been, despite the best efforts of many visionaries along the way,
I recently stumbled across an article on the BBC website entitled ‘How creativity is helped by failure’. The title immediately grabbed me as the general precept is a notion I have always held central to my work. Experience teaches me that risk taking is an integral part of creative practice – significant breakthroughs Continue reading
Wabi-Sabi is an ancient Buddhist philosophy and principle of Japanese aesthetics centred around the ‘perfection’ in im-perfection and transience. The principle can be described as judging beauty in the ‘imperfect, impermanent and incomplete’. Characteristics of Wabi-Sabi can include; asymmetry, texture and tone, Continue reading
A major part of my research revolves around the concept of ‘equivalents’, particulaly between the visual and the audible (eg. white paper and white noise) – imaging the visual of the audible, and the audible of the visual. Continue reading
When visiting The Powerhouse of Art museum in Shanghai China, I was fortunate enough to see a very insightful sound-art installation by the composer Peter Ablinger, and Winfired Ritsch. The piece, entitled: The Truth or: How to teach the Piano Chinese, incorporated a computer controlled piano and screened text. Continue reading
Oblique Strategy of the day:
What mistakes did you make last time?
#Brian Eno #Peter Schmidt
I have just returned from China having spent October and November teaching ‘Graphic Representation’ – a first year Fine Art module at Huanghuai university, Zhumadian in China. The module incorporated drawing, printmaking and photography topics and was delivered to a group of 105 first year Fine Art students. Continue reading
I have recently taken part in a second ‘Dialogues’ workshop, from the series Live Art. Dialogues 2 was a continuation and a development of themes discovered in the initial workshop, responding to several visual and aural observations.
The sound produced by the friction of a pencil across a support is an overlooked (underheard) bi-product of the act of drawing, a sonic trace that is ephemeral and undetermined. An aim of the second workshop was to concentrate on, and bring focus to the sound of drawing, and drawing with sound, and to give it permanence through audio recording and documentation.
The sound of drawings made by one practitioner was captured using microphone pencils (‘pencrophones’) and by drawing upon an ‘electro-acoustic drawing board’ which passed through a number of digital and analogue sound filters, manipulated by an other practitioner, who could mutate, loop and sustain the source, therefore to make audio drawings. Another observation of the workshop was to examine the sound of drawing as possessing a pitch melody that can be mapped onto a musical scale.
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