A Return to Observation: Diebenkorn, Kline and Barnes

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The following pieces are from a body of work I began to explore and develop whilst on my most recent trip to China. The origins of the work stem from a number of lessons I taught, directed at exploring tone. Continue reading

‘painting with the immediacy of drawing…’

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One of the stand out exhibitions of 2015 was for me Jackson Pollock: Blind Spots at Tate Liverpool from 30th June – 18th October. Instead of offering another re-imagining of Pollock’s famed ‘drip technique’, the exhibition, as the title suggests, offered a valuable new insight into a period we are not so familiar with. Continue reading

profound wisdom / insight of the day #5

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“The rectangular picture-plane indicates the starting point of Suprematism; a new realism of colour conceived as non-objective creation. The forms of Suprematist art live like all the living forms of nature. This is a new plastic realism, plastic precisely because the realism of hills, sky and water is missing. Every real form is a world. And any plastic surface is more alive than a (drawn or painted) face from which stares a pair of eyes and a smile.”

Kazimir Malevich [1914]

Rolywholyover: a circus

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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