tag:blogger.com,1999:blog-31358397517117839502024-03-12T19:01:13.020-07:00Wendy Helps; MA Visual Arts Designer Maker.Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.comBlogger37125tag:blogger.com,1999:blog-3135839751711783950.post-63127950486383143042011-05-22T14:24:00.000-07:002011-05-22T14:24:15.171-07:00MADM Library Intervention 10th - 31st March <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">What lies Beneath 2011<br />
Mixed Media: Nylon mesh, felt, human hair, dust, wax and pewter. </td></tr>
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Creating and installing this piece was really useful in that it enabled me to test out some new ideas, materials and engineer interactions within the library environment. In some ways this is very difficult space to use. It is very noisy visually and the choice of location was crucial given that my piece quite small with lots of surface detail and subtle textural qualities.<br />
placing it at the back of the library within the special collections encouraged exploration of areas that were unknown to some; negotiating a passage through tightly spaced book shelves gave the potential for disorientation and claustrophobia before emerging into the light and space next to the huge window. Integrated onto the far end of the radiator, the piece required crouching and kneeling positions for closer visual examination and tactile engagement.<br />
Deliberately challenging in terms of form and materials, there were some extreme reactions; One viewer expressed disgust and was unable to touch the matted felt, hair and wax. Some, who were not too sure but curious, engaged and then recoiled, others fondled the work laughing.<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-OpbTumCcbVo/Tdl83UAdJII/AAAAAAAAAZ4/28hoPuJMbHs/s1600/IMG_5142.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" j8="true" src="http://2.bp.blogspot.com/-OpbTumCcbVo/Tdl83UAdJII/AAAAAAAAAZ4/28hoPuJMbHs/s400/IMG_5142.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gut, Gusset, Vessel 2011<br />
Mixed Media: Nylon mesh, felt, polyester threads.</td></tr>
</tbody></table> Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-2648744899541824362011-05-22T12:39:00.000-07:002011-05-22T12:42:35.775-07:00Wieki Somers, High Tea Pot 2003.This work also fascinates me; again I discovered it whilst doing research for my written paper and it has become a key influence in my work. I originally saw it as part of the Telling Tales Exhibition in September 2009, but the V&A have now acquired one for their collection so I will be able to get closer to it for further scrutiny. A strange and emotive object, it's links with Oppenheims' 'Lunch in Fur' seem very direct to me. The example that I recently saw at the V&A really surprised me; it was enormous, the actual size of a pigs skull I assume. It's form, and the cultural associations linked to its materiality force a questioning of function; it is a thing out of place. However, the use of bone china, the insulating properties of the rat fur, the lid and the spout are all very practical! Tea and cake anyone?!<br />
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<tr><td class="tr-caption" style="text-align: center;">High Tea Pot 2003 Wieki Somers </td></tr>
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</div>Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-50605068876839283742011-05-22T12:01:00.000-07:002011-05-22T12:44:07.552-07:00Hella JongeriusI came upon these works by Hella Jongerius while researching my written paper; I was interested in her approach to materials, the visibility of the making process in her work ('Soft Urn', 'Big White Pot and Red White Vase') and the fact that she originally trained within textiles. Her thinking is really radical. She combines materials in an unorthodox and inappropriate way that makes some of her pieces impractical; the embroidered ceramic plates for example (not pictured).<br />
The surreal fusion of forms; industrial, zoomorphic and domestic in 'Office Pets' and 'Props' also appeals to me. Humorous, playful and uncanny, for me these objects seem to tread the fine line between the psychologically safe, and the threatening.<br />
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<a href="http://www.jongeriuslab.com/site/html/">http://www.jongeriuslab.com/site/html/</a><br />
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<tr><td class="tr-caption" style="text-align: center;">Soft Urn 1993 Hella Jongeris<br />
Natural: PU rubber: Pink: silicone rubber</td></tr>
</tbody></table> <a href="http://www.jongeriuslab.com/site/html/work/soft_urn/">http://www.jongeriuslab.com/site/html/work/soft_urn/</a><br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-VOS7dDLZ8IY/Tdlazz3-g3I/AAAAAAAAAZw/NsxyQ7kG25g/s1600/012_BigWhitePot_RedWhiteVase.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" j8="true" src="http://4.bp.blogspot.com/-VOS7dDLZ8IY/Tdlazz3-g3I/AAAAAAAAAZw/NsxyQ7kG25g/s320/012_BigWhitePot_RedWhiteVase.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Big White Pot and White Red Vase 1997.<br />
Material: Porcelain, Spray paint lacquer (Toyota red).</td></tr>
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<a href="http://www.jongeriuslab.com/site/html/work/big_white_pot_and_red_white_vase/">http://www.jongeriuslab.com/site/html/work/big_white_pot_and_red_white_vase/</a><br />
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<tr><td class="tr-caption" style="text-align: center;">Office Pets 2007 Hella Jongeris <br />
Leather, metal, polyester, embroidery</td></tr>
</tbody></table> <a href="http://www.jongeriuslab.com/site/html/work/office_pets/">http://www.jongeriuslab.com/site/html/work/office_pets/</a> <br />
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<tr><td class="tr-caption" style="text-align: center;">Props 2007 Hella Jongeris <br />
Materials; Various</td></tr>
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</div>Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-30483010623733240672010-09-16T12:17:00.000-07:002010-09-19T10:26:32.297-07:00The Surreal House; Barbican Art Gallery<div style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"></div> Visited 8/9/2010. <br />
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All written quotes are referenced from the exhibition. <br />
Curator: Jane Alison.<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/_-rRRmRmWR1c/TJIcRYxU68I/AAAAAAAAAPU/oi2dLq6hxYs/s1600/iniva.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" qx="true" src="http://2.bp.blogspot.com/_-rRRmRmWR1c/TJIcRYxU68I/AAAAAAAAAPU/oi2dLq6hxYs/s320/iniva.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">In the House of My Father; 1996-97. Donald Rodney (1961-1998)<br />
Photograph on paper on Aluminium</td></tr>
</tbody></table><div class="separator" style="clear: both; text-align: center;">Made from Rodney's own fragile skin taken from the artists body during the course of one of his many many operations, this delicate object measuring no more than a few centimeters in any direction and held together with a single pin, is a poignant example of the 'house as body'. </div><br />
Diagnosed with Sickle-cell anemia at a young age, this work made from Rodney's hospital bed, has been interpreted by Eddie Chambers as symbolising 'the fragility and near futility of Donald having to live within a structure hopelessly unable to sustain itself.... and yet; concurrently, the house resonated with defiance, a curious strength, and comforting notion of 'home'.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/_-rRRmRmWR1c/TJIbK8K_XMI/AAAAAAAAANk/9eQzIUalhkI/s1600/donald-rodney-my-mother-my-father-my-sister-my-brother-1997.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" qx="true" src="http://3.bp.blogspot.com/_-rRRmRmWR1c/TJIbK8K_XMI/AAAAAAAAANk/9eQzIUalhkI/s320/donald-rodney-my-mother-my-father-my-sister-my-brother-1997.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My Mother, My Father, My Sister, My Brother; 1996-97 Donald Rodney<br />
Human skin, pins, scotch tape.</td></tr>
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</div>A foam breast floats on a cloud of black velvet. This is fastened to a cardboard slip-cover of a catalogue, which was produced in an edition of 999 copies to accompany the Exposition Internationale du Surrealisme, held at Gallerie Maeght, Paris, in 1947. Conceived by Andre Breton and Marcel Duchamp, it contains twenty-four illustrations, including eighteen lithographs, five etchings and two woodcuts by artist's including Max Ernst, Hans Belmer and Yves Tangy. On the back cover a blue bordered label reads 'please touch' - an instruction typical of Duchamp's battle against 'the retinal' in favour of the more sensual involvement with art. Parodying conventional museum rules, Duchamp invites the reader to an erotic encounter with the work. <br />
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<tr><td class="tr-caption" style="text-align: center;">'Priere de toucher' 1947 Marcel Duchamp<br />
Rubber foam, velvet, glass. </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Femme Maison series; begun 1940 Louise Bourgeois</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">'Femme Maison; 1983 Louise Bourgeois <br />
White Marble</td></tr>
</tbody></table>The Woman, as Bourgeois says, shows herself at the moment that she thinks she is hiding! <br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/_-rRRmRmWR1c/TJIcNWJFGeI/AAAAAAAAAPM/9I2l42Dx_38/s1600/kneebone_ithinkofdeath_2009.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" qx="true" src="http://3.bp.blogspot.com/_-rRRmRmWR1c/TJIcNWJFGeI/AAAAAAAAAPM/9I2l42Dx_38/s320/kneebone_ithinkofdeath_2009.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I Think of Death; 2009 Rachel Kneebone<br />
Porcelain</td></tr>
</tbody></table>Errupting with a bacchanal of deformed and hybrid bodies, distorted limbs, horses hoofs and slumped phallic tendrils that emerge from delicately sculpted porcelain works, Rachel Kneebones work draws on a multitude of sources. These range from Ovids Metamorphosis, where human figures merge in a myriad of forms and shapes, to the perverse sexual fantasies of George Batailles, Histoire de Oeul.<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/_-rRRmRmWR1c/TJIcDf474UI/AAAAAAAAAO8/lzg1XaBxjZM/s1600/jabberwocky2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" qx="true" src="http://1.bp.blogspot.com/_-rRRmRmWR1c/TJIcDf474UI/AAAAAAAAAO8/lzg1XaBxjZM/s320/jabberwocky2.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Still from Jan Svankmajers 'Jabberwocky' 1971</td></tr>
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Space runs through the work of Czech surrealist film-maker, artist and writer Jan Svankmajer like an obsession. In Jabberwocky, 1971, Lewis Carrol's miniature nonsense epic, recited at the beginning of the film then immediately abandoned in letter if not in spirit, as a wicked comedy of playtime unfolds. Toys and games misrule the world, in which the child's sensibility- never far from Svankmajers sympathy- triumphs over the adult realm of order and propriety. Dollies tea parties turn into cannibalistic feasts, malevolent objects have their fun and to the rhythm of spanked bottoms and the stifling family home becomes a nest of follies. <br />
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In the childs den, no architecture can survive long. Wooden cities are built and collapse in an instant, while a of jigsaw is repeatedly broken down by the films 'live' star, a black cat.<br />
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<tr><td class="tr-caption" style="text-align: center;">Still from Jan Svankmajers 'Jabberwocky' 1971</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Still from Jan Svankmajers 'Jabberwockey' 1971</td></tr>
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</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.youtube.com/watch?v=Nk9PDKJBacc">http://www.youtube.com/watch?v=Nk9PDKJBacc</a></div><div class="separator" style="clear: both; text-align: center;"><br />
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<tr><td class="tr-caption" style="text-align: center;">Les Oiseaux Vous Poursuivent 1929-1930 <br />
Paul Nouge </td></tr>
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</div>Paul Nouges's Theory of 'disturbing objects', By taking an ordinary object and changing it's function and meaning, conventional knowledge and reality could be subverted, and a new reality generated. Here Nouge defamiliarises reality by absenting objects from their usual context- for example, the pen missing from the hand of the automatic writer. In the most famous image, 'The Birth of an Object', five people stare earnestly at a blank wall, suggesting a reality that is visible to the mind rather than the eye. <br />
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<tr><td class="tr-caption" style="text-align: center;">Birth of an Object Paul Nouge</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Le Bras Revelateur Paul Nouge 1929- 1930</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">A New Way of Juggling Paul Nouge</td></tr>
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</div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_-rRRmRmWR1c/TJTZj29PE0I/AAAAAAAAATc/nUZ2VsWFIRM/s1600/nouge-echiquier3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" qx="true" src="http://1.bp.blogspot.com/_-rRRmRmWR1c/TJTZj29PE0I/AAAAAAAAATc/nUZ2VsWFIRM/s320/nouge-echiquier3.jpg" /></a></div><br />
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....and finally... something that always cheers me up!<br />
<a href="http://www.spike.com/video/stella-artois-le/2675155">http://www.spike.com/video/stella-artois-le/2675155</a>Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com1tag:blogger.com,1999:blog-3135839751711783950.post-18878992392143345292010-09-16T08:03:00.000-07:002010-09-16T08:08:45.507-07:00Nervous System Reaction<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_-rRRmRmWR1c/TJIwzPFdJCI/AAAAAAAAARs/MQCqNbiaSDU/s1600/ns01.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="148" qx="true" src="http://2.bp.blogspot.com/_-rRRmRmWR1c/TJIwzPFdJCI/AAAAAAAAARs/MQCqNbiaSDU/s200/ns01.jpg" width="200" /></a></div><br />
Thanks to Caroline and Suzanne for this one... great minds think alike! <br />
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<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="http://www.designboom.com/weblog/cat/8/view/11502/nervous-system-reaction.html">http://www.designboom.com/weblog/cat/8/view/11502/nervous-system-reaction.html</a></div><br />
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<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_-rRRmRmWR1c/TJIw4yH3r0I/AAAAAAAAAR0/so8t4BpsAyI/s1600/ns09.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" qx="true" src="http://3.bp.blogspot.com/_-rRRmRmWR1c/TJIw4yH3r0I/AAAAAAAAAR0/so8t4BpsAyI/s320/ns09.jpg" width="320" /></a></div>Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-56602165085506617572010-09-09T12:10:00.000-07:002011-07-10T11:27:24.808-07:00Ernesto Neto; The Edges of the World. Hayward GalleryVisited 4/09/2010. <br />
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</div><a href="http://festivalbrazil.southbankcentre.co.uk/ernesto-neto/about">http://festivalbrazil.southbankcentre.co.uk/ernesto-neto/about</a><br />
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Stretchy, tactile fun.... I loved the colours, interactivity and translucence of <strong>Horizon of events III</strong>. Lots of tubes to push your arms down, some narrower for greater resistance, some twisted to prevent you from pushing through to the other side! Spent a long time just watching and listening to other people. One woman, who moved with the elegance and poise of a dancer was photographing herself as she moved through the spaces. Children tangled themselves hysterically in a sea of vertical stretchy tubes, others lay around in womb-like, ventricular tents. The environment seemed to remove a lot of adult inhibition and strangers laughed spontaneously together at the strange playfulness of it all. I went on the second to last day so it was fairly busy, lots of exclamations, chatter and movement everywhere. <br />
The form and construction of the various the layers and chambers were cleverly engineered to create some very beautiful and atmospheric structures; the most intriguing for me were at intersections, and in places where a number of layers and elements were being brought together. <br />
In addition to the less complex stitching used to connect most components, there were joins made with a more visible and complex decorative lacing. This created subtle shifts in scale and detail, and influenced the surface qualities/tension of the mesh. I found this piece fascinating technically, but I'm not completely sure what I think about the installation as a whole. <br />
Going to write this up with reference to interactivity and haptic experience.<br />
Just wanted to pop this on now and get the ball rolling. These photos could be useful as I don't think mine are going to come out very well. They give a really good account of how people were using the installation and of the general mood... and yes, I regressed too! <br />
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<a href="http://festivalbrazil.southbankcentre.co.uk/ernesto-neto/mms-gallery?page=1">http://festivalbrazil.southbankcentre.co.uk/ernesto-neto/mms-gallery?page=1</a><br />
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My photos... <br />
People: <br />
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</div><div class="separator" style="clear: both; text-align: center;"></div>Holes & Tubes!<br />
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</div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_-rRRmRmWR1c/TKOguXRhZSI/AAAAAAAAAY0/p923cgxn0lg/s1600/DSCN1830.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" px="true" src="http://3.bp.blogspot.com/_-rRRmRmWR1c/TKOguXRhZSI/AAAAAAAAAY0/p923cgxn0lg/s320/DSCN1830.JPG" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_-rRRmRmWR1c/TKOg0c29nRI/AAAAAAAAAY4/VZSvmHd6QyY/s1600/DSCN1815.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" px="true" src="http://4.bp.blogspot.com/_-rRRmRmWR1c/TKOg0c29nRI/AAAAAAAAAY4/VZSvmHd6QyY/s320/DSCN1815.JPG" width="240" /></a></div><div class="separator" style="clear: both; text-align: center;"></div>Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-52748872162721522222010-09-05T12:30:00.000-07:002010-09-05T12:32:20.623-07:00Maison Martin Margiela; Somerset HouseVisited 1/9/2010. <br />
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This is where it all comes from...truly, truly good stuff! <br />
Seriously inspiring, innovative approaches to fashion with bucket loads of integrity. The perfect antidote to celebrity culture and all the nonsense that goes with it. This made me want to rush home, cut all my clothes up and do sew them back together again in unthinkable ways. <br />
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Will write more on this but wanted to get it up on the blog sharpish!<br />
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<a href="http://www.somersethouse.org.uk/fashion/maison_martin_margiela_20/default.as">http://www.somersethouse.org.uk/fashion/maison_martin_margiela_20/default.as</a><br />
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</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_-rRRmRmWR1c/TIPtIRY2gvI/AAAAAAAAANM/mtkV23bJcvc/s1600/Maison-Martin-Margiela-Artisanal-collection.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" ox="true" src="http://1.bp.blogspot.com/_-rRRmRmWR1c/TIPtIRY2gvI/AAAAAAAAANM/mtkV23bJcvc/s400/Maison-Martin-Margiela-Artisanal-collection.jpg" width="400" /></a></div>Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-50501148793724641902010-09-05T11:39:00.000-07:002010-09-18T07:08:05.498-07:00Skin; Wellcome Collection<strong><span style="font-size: large;">Skin; Wellcome collection visited 25/08/2010</span></strong><br />
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<a href="http://www.wellcomecollection.org/whats-on/exhibitions/skin.aspx">http://www.wellcomecollection.org/whats-on/exhibitions/skin.aspx</a><br />
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This is a fantastic exhibition! An exploration of skin culturally, scientifically and through contemporary art and craft, it follows the developments in our understanding, attitudes, decoration and use of human skin from ecorche drawings and etchings from the 15th century through to cutting edge technology used by Marta Lwin to create jewellery from artificial skin. <br />
<a href="http://www.blogger.com/"></a><span id="goog_1193774089"></span><span id="goog_1193774090"></span><br />
Looking for practitioners dealing with aspects of haptics and of touch generally. The works referenced here have most relevance to my written paper. <br />
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</tbody></table><strong>‘Libidinus’ 2010 </strong><br />
<strong>(Drawing animation 4mins) Rosa and Mercedes Peris.</strong> <br />
The artists live and work in Valencia where Juan Valverde de Hamusco taught medicine and anatomy in the 16th Century.<br />
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This sensual representation of flaying as a ‘lovers experience’ is paradoxical in that it depicts a process that would be excruciatingly painful and ultimately fatal, in a manner that evokes the physical pleasures of touching and being touched.<br />
<br />
A visual metaphor for revelation through intimacy; ‘I’ve got you under my skin’, the notion of getting under the skin of another has connotations of emotional closeness, of being affected by the touch/ presence/ existence of another and also hints at possibilities of obsession. The contradictions of physical love, tensions between the constructive and destructive possibilities of violent and fetishistic acts are suggested here. <br />
The style of the animation; loosely drawn pencil line with smudges of coloured chalk pastel give fluidity of movement creating a confusion of limbs, buttocks, faces, lips, and hair. Movement within the frame, the representation of whole bodies, close-ups and extreme magnification of exposed muscle, evoke the joy of physical contact and of tumbling abandonment to ‘Libidinous’ pursuits and haptic experience. <br />
The childlike lovers, adult lovers and cherubs depicted in succession allude to Baroque representations of the body in paintings and through ecorche figures. Allegorical and mythological tales of Venus and cupid are brought to mind. Both the fleshy voluptuousness of these intimacies and the ephemerality of sensual experience are conveyed through soft smudges of pink and red chalks. <br />
<br />
Ultimately it is this lack of definition that detracts from the work as a whole. The viscera and machinery of the body concealed beneath the skin are precise and delineated in their structure and purpose. The muscles, tissues and cells depicted in close-up here are an amorphous and incoherent jumble represented through expressive marks, swirls and splashes of colour that barely begins to suggest the complexity and detail to be found below the surface of the human body. A clearer more clinical rendering of the muscle, tendons and blood vessels would have created greater visual tension in this piece and suggested the levels of anatomical knowledge that had been achieved in the time to which it alludes. <br />
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There is a boundary between what is felt and experienced emotionally and psychologically (passion/pain/pleasure) and the physiological; mechanical, chemical, and thermal detections that facilitate perception of sensory experience. <br />
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<tr><td class="tr-caption" style="text-align: center;">Self portrait; 1991 Helen Chadwick <br />
Photographic transparency, glass, aluminium frame and electric lights</td></tr>
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<strong>‘Self Portrait’ 1991 Helen Chadwick </strong><br />
Photographic transparency, Glass, Aluminum frame and electric lights. <br />
<br />
‘This unsettling yet intimate self-portrait challenges the traditions of classical portraiture by suggesting that regardless of gender, age or race our brains all look the same. However, although this is clearly not the artists’ own brain, her individuality is betrayed by her hands’ exhibition information. <br />
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This work comments on the development of scientific knowledge and changes in culture and attitudes towards the human body and the mind by amalgamating both historical and contemporary modes of thinking and presentation. <br />
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This image is a contemplation of mortality; the traditional skull has been replaced with the brain to reflect contemporary understanding of its location of consciousness and of the ‘self’. The gathers and folds in the fabric can be seen as a reference to portraits of 17th century in which cloth was often used as a metaphor for civilisation. It also echoes the folds and contours seen on the surface of the brain and it’s lustre and richness suggests the kind of surface that might be used to display an object of great value. <br />
The brain superseded the heart in terms of its perceived importance as the location of the soul and of consciousness. When did this happen? <br />
The exhibition contains a number of wax anatomical models, many of which are displayed on fabric cushions, which was the fashion at that time. Are these the upholstered surfaces of the coffin, or of the sitting room?<br />
<br />
The methods used to realise and present this piece are in total contrast to the traditional portraiture and cultural associations to which it alludes. The guts and mechanics of it’s making and display are exposed; lights, wires, screws and wooden base can all be clearly seen through the transparent Perspex that have been used to fabricate the sides of this circular box. This echoes the brutality implicit in the action we see represented before us. The image depicts the artist handing a human brain, the touch appears to be one of tenderness, possibly reverence. However, the image prompts the question; in what circumstances did the brain become available and how was it removed from the body?! <br />
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We are divorced from the act of touching through the medium of its representation. A hard glossy, two-dimensional surface, there are none of the tactile or olfactory stimuli that would have been present in the moment the image was created. How many people in contemporary society have the opportunity to handle a human brain in this way? We may be able to imagine how this might feel or smell through drawing on our own memories. Handing of animal flesh and viscera during the preparation of food or the experience of encountering road kill would give some clue. It reminds us of our own mortality and provokes both curiosity and revulsion but also has a strange sterility to it which is alienating.<br />
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<tr><td class="tr-caption" style="text-align: center;">Psoriasis; Tamsin Van Essen</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">'Psoriasis' .Ceramic apothecary jar by Tamsin Van Essen 2009. </td></tr>
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<strong>Medical Heirlooms; 2008-2010. Tamsin Van Essen. Ceramic vessels. </strong><br />
<br />
‘These medical heirlooms address both the stigma of skin diseases and contemporary obsessions with perfection and beauty. The artist Tamsin Van Essen has manipulated ceramic materials to emulate physiological ‘faults, defects and blemishes’. Based on 17th century apothecary jars the forms have strong historical link. The title of the series links an object that can be passed down through generations to hereditary medical conditions.’ Exhibition information <br />
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These vessels are connotative of the body as vessel and of the eye. Internal and external spaces/ surfaces are used to explore the concept; one is fractured and flaking, mimicking the blemishes, puckers and distortions of Syphilitic skin. <br />
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This is an explicit representation of skin conditions: ‘Psoriasis1’; ‘Psoriasis 2’; ‘Acne (pocked)’; Acne (pustules); ‘Syphilis1’; and ‘Syphilis 2’. The perfect, precise form of the vessels are in stark contrast to the degeneration and pollution suggested by their surface qualities. The progressive disintegration of the surface of ‘Psoriasis’ mimics the shedding of diseased skin over time. <br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/_-rRRmRmWR1c/TIPWViW5ttI/AAAAAAAAANE/_yOYNx7PF5I/s1600/73c90e04-ed42-49d4-9924-02866b4bf8bf_4_0%5B1%5D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="332" ox="true" src="http://1.bp.blogspot.com/_-rRRmRmWR1c/TIPWViW5ttI/AAAAAAAAANE/_yOYNx7PF5I/s640/73c90e04-ed42-49d4-9924-02866b4bf8bf_4_0%5B1%5D.jpg" width="640" /></a></td></tr>
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</tbody></table><strong>Examination; 1999. Heather Barnett. 3 colour photographs.</strong> <br />
‘This photograph series was produced in collaboration with Gynaecologist Kathy Boursicot. Barnetts work is inspire by textbook illustrations of medical examinations, which she re-stages and photographs in a manner that blurs the distinction between clinical precision and sensuality’. Exhibition information<br />
<br />
These photographs capture individual acts of touch in the context of clinical examination but the lighting, colour and framing of the acts in close-up creates ambiguity, highlighting the sensual aspects of the process of examination and inviting us to consider the ethics of the doctor/patient relationship. <br />
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Enlargement of these interactions between the patient and the doctor emphasises the surface texture of skin, hair and of different parts of the body making them more difficult to identify. The scale and composition of these images abstract the two bodies, intensifying the moment of contact and creating intimacy whilst also transforming the them into a series of landscapes. Tonal contrasts define the form and surface of body parts suggesting the dramatic chiaroscuro seen in Spanish paintings. In one image the ‘examiners’ hand is encased in a latex glove. The tactile properties of this material, its associations with protection, birth control and with fetishistic practices have the potential to affect not only the actual experience of touch and of being touched, but influence the imagined experience of touch in the mind of the viewer. <br />
<br />
These images also evoke notions of touch as a transformative gesture, suggesting the spiritual possibilities in ‘The laying on of hands’ and ‘the miracle of healing’.Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-64020127797171718832010-09-05T11:36:00.000-07:002010-09-05T11:36:43.092-07:00New TechnologyThank you Carloine for forwarding this...<br />
<br />
<a href="http://www.designboom.com/weblog/cat/8/view/9926/foam-porcelain-by-marjan-van-aubel.html">http://www.designboom.com/weblog/cat/8/view/9926/foam-porcelain-by-marjan-van-aubel.html</a>Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-59501222656197560382010-08-26T08:49:00.000-07:002010-09-16T12:13:27.434-07:00Jane Graves; The Secret Lives of Objects.<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_-rRRmRmWR1c/TJI0FV3ww-I/AAAAAAAAAR8/wsGDXe7Y-aw/s1600/secretlivescover.jpg" imageanchor="1" style="cssfloat: left; margin-left: 1em; margin-right: 1em;"><img border="0" height="400" qx="true" src="http://2.bp.blogspot.com/_-rRRmRmWR1c/TJI0FV3ww-I/AAAAAAAAAR8/wsGDXe7Y-aw/s400/secretlivescover.jpg" width="310" /></a></div><br />
This book has really influenced my critical thinking and approach to research generally. I enjoy the way that Jane Graves weaves ideas and references together using a diverse range of writing styles; academic, poetic, humorous, streams of consciousness and flights of fancy.<br />
<br />
Lively, thought provoking illustrations and<br />
impossibly small print ...my eyes are ****** but my brain is full!<br />
<br />
<a href="http://www.janegraves.o.rg.uk/thesecretlives.htm">http://www.janegraves.o.rg.uk/thesecretlives.htm</a>Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-89858233558617107972010-05-03T11:39:00.000-07:002010-05-03T11:51:08.355-07:00Naomi Filmer; Edible Expressions, Ice Jewellery and Body Sculpture.<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_-rRRmRmWR1c/S98PrCBBvuI/AAAAAAAAALA/EOkxVssSEwU/s1600/Grin-Edible-Expression_D9386AAE.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/_-rRRmRmWR1c/S98PrCBBvuI/AAAAAAAAALA/EOkxVssSEwU/s320/Grin-Edible-Expression_D9386AAE.jpg" tt="true" /></a><a href="http://3.bp.blogspot.com/_-rRRmRmWR1c/S98QoTP03SI/AAAAAAAAALw/0APFxdAXHow/s1600/Naomi_Filmer4.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/_-rRRmRmWR1c/S98QoTP03SI/AAAAAAAAALw/0APFxdAXHow/s320/Naomi_Filmer4.png" tt="true" /></a></div><br />
<a href="http://www.thisnext.com/tag/naomi-filmer-designer-chocolate/">http://www.thisnext.com/tag/naomi-filmer-designer-chocolate/</a><br />
<br />
Initially my interest lay in her utilisation of transient materials <br />
(ice and chocolate). <br />
I remember seeing the limited edition facial expression chocolate lollipops in the V & A shop and liking the idea of edible art;<br />
I suspect that many would just have to eat the damn things rather than stick them away in a box, or have them permanently out on show to torment! No one I know would be immune to the knowledge that there is chocolate lurking somewhere in the house. I wonder how many still exist? <br />
Anyway, the notion of using materials that can be ingested (the ultimate consumption/assimilation of the art object) or that melt and degrade in some way is one that I plan to explore. So, her ice jewellery and installation for 'Be-hind Be-fore Be-yond' are of particular interest.<br />
The sinuous quality, organic forms and reflective surfaces of her metal pieces are really seductive and seeing them for me, provokes a desire to investigate their surfaces, weight and temperature. Innovative, sensual and unnerving, her use of materials often has a prosthetic quality or carries fetishistic associations, suggesting danger and violence.<br />
I find some of the work difficult aesthetically but really like the thinking behind the objects.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_-rRRmRmWR1c/S98QW_pidrI/AAAAAAAAALY/Y_MggagRSks/s1600/arts-graphics-2005_1163022a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/_-rRRmRmWR1c/S98QW_pidrI/AAAAAAAAALY/Y_MggagRSks/s320/arts-graphics-2005_1163022a.jpg" tt="true" width="235" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_-rRRmRmWR1c/S98P_LbC7rI/AAAAAAAAALI/83_94IPWqt8/s1600/behind8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://4.bp.blogspot.com/_-rRRmRmWR1c/S98P_LbC7rI/AAAAAAAAALI/83_94IPWqt8/s400/behind8.jpg" tt="true" width="265" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
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</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="http://www.naomifilmer.co.uk/">http://www.naomifilmer.co.uk/</a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="http://www.judithclarkcostume.com/exhibitions/judith_clark_09.php">http://www.judithclarkcostume.com/exhibitions/judith_clark_09.php</a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="http://www.vam.ac.uk/vastatic/microsites/1637_outoftheordinary/artists_more_images.php?artistTag=filmer">http://www.vam.ac.uk/vastatic/microsites/1637_outoftheordinary/artists_more_images.php?artistTag=filmer</a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
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</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_-rRRmRmWR1c/S98QNL1HVfI/AAAAAAAAALQ/Yx6_WsWJIGo/s1600/filmer-mouthpiece.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/_-rRRmRmWR1c/S98QNL1HVfI/AAAAAAAAALQ/Yx6_WsWJIGo/s320/filmer-mouthpiece.jpg" tt="true" width="289" /></a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><br />
</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_-rRRmRmWR1c/S98QjitRuQI/AAAAAAAAALo/05yYmiaMg1A/s1600/Naomi+Filmer3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318" src="http://1.bp.blogspot.com/_-rRRmRmWR1c/S98QjitRuQI/AAAAAAAAALo/05yYmiaMg1A/s320/Naomi+Filmer3.png" tt="true" width="320" /></a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><br />
</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_-rRRmRmWR1c/S98QbcdMTEI/AAAAAAAAALg/KX0qxRETGgI/s1600/c10z200822025522ast.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/_-rRRmRmWR1c/S98QbcdMTEI/AAAAAAAAALg/KX0qxRETGgI/s320/c10z200822025522ast.jpg" tt="true" /></a></div>Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-73222960707709953362010-05-03T09:19:00.000-07:002010-05-03T09:22:14.402-07:00Touch Me Exhibition at the V&A 2005<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_-rRRmRmWR1c/S972F2-gmVI/AAAAAAAAAKw/JPzklVcUskk/s1600/skin.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/_-rRRmRmWR1c/S972F2-gmVI/AAAAAAAAAKw/JPzklVcUskk/s320/skin.jpg" tt="true" /></a><a href="http://1.bp.blogspot.com/_-rRRmRmWR1c/S972KTVfw5I/AAAAAAAAAK4/9BVatRxw1oQ/s1600/touch_chair.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="190" src="http://1.bp.blogspot.com/_-rRRmRmWR1c/S972KTVfw5I/AAAAAAAAAK4/9BVatRxw1oQ/s200/touch_chair.jpg" tt="true" width="200" /></a></div><br />
<br />
I discovered this exhibition while searching for work by the jewellery designer Naomi Filmer. Can't understand why I didn't go to see this at the time but glad to have found it now. Lots of really good stuff in the exhibition and resources sections but sadly only a few images so definitely want to lay my hands on a copy of the catalogue. Hopefully I will be able to track one down somewhere. <br />
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<a href="http://www.vam.ac.uk/vastatic/microsites/1376_touch_me/index.html">http://www.vam.ac.uk/vastatic/microsites/1376_touch_me/index.html</a>Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-81139529617841227162010-05-02T11:35:00.000-07:002010-09-16T12:07:21.662-07:00Restless; Ron Arad at the Barbican Art Gallery<a href="http://www.barbican.org.uk/ronarad">http://www.barbican.org.uk/ronarad</a><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_-rRRmRmWR1c/TJJoqUqE85I/AAAAAAAAASs/HVLNnDC9YJk/s1600/ron-arad.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" qx="true" src="http://2.bp.blogspot.com/_-rRRmRmWR1c/TJJoqUqE85I/AAAAAAAAASs/HVLNnDC9YJk/s320/ron-arad.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_-rRRmRmWR1c/TJJo3EoNjII/AAAAAAAAAS8/zIEQHjhNoMA/s1600/timothy-taylor-gallery-ron-arad-bodyguard_1-366x600.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" qx="true" src="http://2.bp.blogspot.com/_-rRRmRmWR1c/TJJo3EoNjII/AAAAAAAAAS8/zIEQHjhNoMA/s320/timothy-taylor-gallery-ron-arad-bodyguard_1-366x600.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_-rRRmRmWR1c/TJJoyImqBAI/AAAAAAAAAS0/EokkciaWVn0/s1600/timothy_taylor_gallery-ron_arad-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" qx="true" src="http://3.bp.blogspot.com/_-rRRmRmWR1c/TJJoyImqBAI/AAAAAAAAAS0/EokkciaWVn0/s320/timothy_taylor_gallery-ron_arad-2.jpg" /></a><img border="0" qx="true" src="http://2.bp.blogspot.com/_-rRRmRmWR1c/TJJo9DaRirI/AAAAAAAAATE/3-OVCMy8fNo/s320/4432706416_6208dc5a7f.jpg" /></div>Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-66498495463192085932010-05-02T11:34:00.000-07:002010-09-16T11:45:11.846-07:00A Concise Dictionary of Fashion; Judith Clarke & Adam PhilipsVisited 2/05/2010<br />
<a href="http://www.artangel.org.uk//projects/2010/the_concise_dictionary_of_dress/about_the_project/the_concise_dictionary_of_dress">http://www.artangel.org.uk//projects/2010/the_concise_dictionary_of_dress/about_the_project/the_concise_dictionary_of_dress</a><br />
<br />
Went to see this fantastic installation at the weekend. Set within Blythe House, previously home to the post office savings bank, now the repository for the V & A archive. This is an hour long exploration of the building and its contents punctuated by a series of curatorial and psychoanalytical responses to the fashion collection. These are presented in the form of site specific installations accompanied by definitions that provoke an idiosyncratic interpretation of the clothing in terms of 'anxiety, wish and desire'. The guide is not allowed to answer questions about interpretation but can assist with information about materials and practical matters concerning the conservation areas and stores that we pass through. Personal response and interpretation are everything and each visitor to the piece will notice a different set of details. The building is vast; a labyrinth of alarmed corridors on I can't remember how many floors. A warren of staircases, cavernous rooms containing racks, glass fronted cupboards, cabinets and rolls and rolls of textiles wrapped up in conservation white. You catch a glimpse of objects partially obscured by the glare of light on glass and have to pop back momentarily to confirm what you have seen. A spinning wheel, an Islamic vessel, the edge of, what looked like, a stunningly ornate Grinling Gibbons mirror. Stacks, rows, objects propped up against walls and the orderly labels, the labelling and organising of a vast collection of 'things', mostly hand written, some crossed out and updated. Instructions to staff... 'Do not put anything on this surface or use it for rolling' and there are staff there on a Sunday, waiting patiently for us to move on so they can resume their work carefully shifting artifacts on a trolley. We start at the top of the building, on the roof with panoramic views over London and finish in the basement. I notice strange and seemingly unimportant things; three plastic bin liners of rubbish in a corridor, the surface of a wall, a piece of disused machinery, the thing about an 'Experience' like this is that you are always questioning what parts of the environment are manufactured? <br />
<br />
The 'interventions' are whimsical, provocative, amusing, evocative, playful and challenging.Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-86831606068896602322010-04-27T15:02:00.000-07:002010-05-03T15:55:44.284-07:00Fantastic Voyage; the human body is an alien landscape.<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_-rRRmRmWR1c/S99T1LWqVaI/AAAAAAAAAMc/Hv6JLfIEXOs/s1600/6850_1153417675.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="203" src="http://4.bp.blogspot.com/_-rRRmRmWR1c/S99T1LWqVaI/AAAAAAAAAMc/Hv6JLfIEXOs/s640/6850_1153417675.jpg" tt="true" width="640" /></a></div><br />
Our bodies are alien to us.<br />
<br />
What we think it all looks like now<br />
<a href="http://www.studiodaily.com/main/technique/tprojects/6850.html">http://www.studiodaily.com/main/technique/tprojects/6850.html</a><br />
<br />
Same animation with technical commentary<br />
<a href="http://multimedia.mcb.harvard.edu/anim_innerlife_lo.html">http://multimedia.mcb.harvard.edu/anim_innerlife_lo.html</a><br />
<br />
What we thought it all looked like back in the 1960's when men were men, and women were beautiful girls!!<br />
<a href="http://www.youtube.com/watch?v=3o8vsU0Dw-4&feature=related">http://www.youtube.com/watch?v=3o8vsU0Dw-4&feature=related</a>Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-72955772449988496612010-04-27T05:42:00.000-07:002010-10-03T09:12:43.454-07:00Patricia Churchland: Exchanges At The Frontier Wellcome Collection 8/10/2009.<div class="separator" style="clear: both; text-align: center;"><img border="0" height="167" px="true" src="http://3.bp.blogspot.com/_-rRRmRmWR1c/TKiA5xv7JYI/AAAAAAAAAZg/lKmy-gH5zCc/s320/idoc.jpg" width="320" /></div><div class="separator" style="clear: both; text-align: center;"><br />
</div>Another fantastic speaker at the Wellcome Collection; Neuro philosopher Patricia Churchland (based at the University of California) talked about the physiology of the brain and 'Sociality' in humans. I was intrigued by her description of tests that confirmed the successes of sub-conscious decision making relative to conscious decision making, research into the influence of specific proteins and the effects of compromised frontal lobe structure on human behaviours. The discussion also touched on perception, 'causality' and notions of 'free will'.<br />
<br />
Link to a Synopsis of key points in the discussion and to the BBC World Service broadcast.<br />
<br />
<a href="http://www.wellcomecollection.org/whats-on/events/exchanges-at-the-frontier-4/patricia-churchland.aspx">http://www.wellcomecollection.org/whats-on/events/exchanges-at-the-frontier-4/patricia-churchland.aspx</a>Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-40583006180333864282010-04-26T14:41:00.000-07:002010-04-26T15:48:46.535-07:00Richard Feynman; electromagnetic spectrumHow to make the complex sound simple.....<br />
<a href="http://www.youtube.com/watch?v=AU8PId_6xec">http://www.youtube.com/watch?v=AU8PId_6xec</a>Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-22246417097829131062010-04-26T14:34:00.000-07:002010-04-26T15:51:00.006-07:00Visual Contrast; the importance of mutual inhibition in visual perception.<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_-rRRmRmWR1c/S9YE3HzYpkI/AAAAAAAAAKI/anMfC7zxEIA/s1600/RODNCONE.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/_-rRRmRmWR1c/S9YE3HzYpkI/AAAAAAAAAKI/anMfC7zxEIA/s320/RODNCONE.jpg" tt="true" /></a></div><br />
This aspect of the mechanics of vision is particularly interesting and relevant. Photo receptors in the retina are wired up to accentuate contrast; this happens through a reduction/suppression of electrical activity in receptors exposed to lower levels of light wherever they are situated next to receptors that are exposed to higher light levels. This increases the difference between the two signals. In colour perception, hue and saturation are also processed through a contrast-enhancing mechanism.<br />
<br />
'This 'contrast only' form of vision meant that the eye could detect small local variations in light intensity, even though ambient light varies a million fold between sunlight and starlight.' <br />
(P 205)<br />
<br />
<br />
'Only if we rob and object of all context can the eye be fooled. A full moon at night, lit by a sun we cannot see, and suspended in the non-reflecting vacuum of space appears white -yet moon dust is black.' <br />
(P 231)<br />
<br />
'Context is everything. The eye has no interest in absolute levels of illumination, nor colour values. Every colour is perceived in relation to every other, just as every patch of light is perceived in relation to every patch of shade. In the real world this makes colours remarkably stable.'<br />
(P 236) <br />
<br />
'Humans are the descendants of night dwellers, and our excellent night vision is one of the consequences of our spell in the dark' <br />
(P 257)<br />
<br />
'If we are surprised to learn that blue and yellow are perceived as mixtures, how much more startling it is to discover that red- most vibrant and unsettling of colours; the colour of danger, blushes, poison, blood, and sexual arousal- is not directly perceived, but constructed whenever yellow cones are excited and blue cones fall silent. Indeed the sensation of red can be generated by removing all bluish wavelengths and enriching the yellowish green part of the spectrum. The fact that red is patently more than a formula is striking evidence that colour is neither an objective property of objects nor of the light they reflect; it is a construct of the mind.' <br />
(P 228)<br />
<br />
Hartline 'mutual inhibition'<br />
<br />
Lands 'retinex theory'<br />
<br />
Mach Band illusion<br />
<br />
Gordon Lynn Walls - The Vertebrate eye and its Adaptive Radiation.<br />
<br />
All references taken from<br />
The Eye; A Natural History. <br />
Simon Ings <br />
Bloomsbury 1997.Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-25025651040472356502010-04-18T11:19:00.000-07:002010-09-16T11:43:04.428-07:00Helen Chadwick; Piss in the Snow Flowers<a href="http://www.fineart.ac.uk/works.php?imageid=bt0005">http://www.fineart.ac.uk/works.php?imageid=bt0005</a><br />
<br />
Quotes from effluvia catalogue:<br />
<strong><span style="font-size: large;">'My apparatus is a body x sensory systems with which to correlate experience' </span></strong><br />
Helen Chadwick, 'Soliloquy to flesh', Enfleshings, Secker & Warburg 1998, p109. <br />
<br />
'There are twelve piss flowers, each shaped by a unique, an unpredictable event in which the agency of the artist's hand is bypassed in favour of the creative power of urine, normally regarded as polluting and marginal. Here the pleasure of the taboo act is exalted through the object. We are confronted with the fabulous facts of our bodies through things which are childlike and insistent.' <br />
<br />
Marjorie Allthorpe-Guyton<br />
Mary Douglas, 'External Boundries' in Purity and Danger 1966. Reprint 1991 Routledge, p114-128.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/_-rRRmRmWR1c/TJI-FZB7QrI/AAAAAAAAASc/jx3Y9CQ6enM/s1600/bt0005.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" qx="true" src="http://1.bp.blogspot.com/_-rRRmRmWR1c/TJI-FZB7QrI/AAAAAAAAASc/jx3Y9CQ6enM/s320/bt0005.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Piss flowers 1991-92 Helen Chadwick <br />
Bronze, cellulose lacquer.<br />
<br />
<br />
Produced during the artist's residency at the Banff Centre for the Arts. Alberta, Canada.</td></tr>
</tbody></table> .<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_-rRRmRmWR1c/TJI934hlleI/AAAAAAAAASE/lSiu_w59dRE/s1600/chadwick-piss-flower-9_180.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" qx="true" src="http://1.bp.blogspot.com/_-rRRmRmWR1c/TJI934hlleI/AAAAAAAAASE/lSiu_w59dRE/s200/chadwick-piss-flower-9_180.jpg" width="200" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div>'These organic, visceral materials are transformed into complex installations by Chadwick's skilled use of traditional methods of fabrication as well as highly sophisticated technologies. The artist enjoys using materials which posses strong haptical and olfactory qualities- to wit, a huge glass column with rotting vegetable matter in Of Mutability in 1986, or, most recently, a fountain of hot bubbling chocolate in Cacao, 1994- thereby implicating the viewer in a powerful sensorial experience. Whether Chadwick is employing strategies of seduction or revulsion, or whether indeed these occur simultaneously, the spectators decipher and complete the work through their own physical presence.' <br />
<br />
Andrea Schlieker <br />
Serpentine Gallery<br />
effluvia Serpentine Gallery, London, 19 July - 20th August 1994.Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-26778907212697101832010-04-17T11:29:00.000-07:002010-09-16T11:42:17.366-07:00Victoria Rance; Metal structures and body pieces.<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/_-rRRmRmWR1c/S9YRBTtBE2I/AAAAAAAAAKo/JEso7gbRY-M/s1600/RANCE+Tree+of+Forgetting+2005.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/_-rRRmRmWR1c/S9YRBTtBE2I/AAAAAAAAAKo/JEso7gbRY-M/s320/RANCE+Tree+of+Forgetting+2005.JPG" tt="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tree of Forgetting 2005 Victoria Rance<br />
Steel and Silicone Bronze</td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"> </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"> </div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/_-rRRmRmWR1c/S9YQ5j6ULRI/AAAAAAAAAKg/_a8YsRNf-6g/s1600/RANCE+Tent+2006.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/_-rRRmRmWR1c/S9YQ5j6ULRI/AAAAAAAAAKg/_a8YsRNf-6g/s320/RANCE+Tent+2006.jpg" tt="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tent Victoria Rance<br />
Steel and Silicone Bronze </td></tr>
</tbody></table><a href="http://victoriarance.blogspot.com/">http://victoriarance.blogspot.com/</a>Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-8058664757124354362010-02-20T11:16:00.000-08:002010-09-16T11:44:17.215-07:00Key Ideas Symposium; Image 'Lightsurgeons'<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_-rRRmRmWR1c/TJJVs7lzJtI/AAAAAAAAASk/DPZosFuAMgs/s1600/Articulated_Dialogue6X61.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" qx="true" src="http://3.bp.blogspot.com/_-rRRmRmWR1c/TJJVs7lzJtI/AAAAAAAAASk/DPZosFuAMgs/s320/Articulated_Dialogue6X61.jpg" /></a></div>3/2/2010<br />
<a href="http://www.lightsurgeons.com/installation/dialog/">http://www.lightsurgeons.com/installation/dialog/</a><br />
<br />
This was a really interesting and thought provoking day. I was particularly struck by footage of Chris Allen's installation 'Dialog' (see link) which pushed my cognitive abilities to an uncomfortable extent because of the sheer speed with which a lot of the the aural and visual information was presented (dictated by the speed of the conversations and, at times heated debates on which the piece was based)! I had to work really hard to process it, to identify the links or anomalies between the language and the visual cues and start to construct/ recognise the 'new' language. It was a very peculiar experience to be conscious of your brain actually working, to be physically aware of the process... I wonder if anyone else felt the same? Is this how people with severe dyslexia or similar learning difficulties feel most of the time? If so the film could be a good tool for promoting an understanding of this and developing empathy between teachers and students. The imagery used had something very Martin Parr about it, very random and a bit cheesy, very funny, which I loved.<br />
<br />
Also, it was helpful to be able to reference/reflect on the 'Image' related entries posted on the Key Ideas Blog after the symposium. <br />
Thank you Mr Clifton. <br />
<a href="http://www.camberwelldesign.blogspot.com/">http://www.camberwelldesign.blogspot.com/</a><br />
<br />
16/9/2010<br />
Have seen the Lightsurgeons fantastic new installation for The Museum of London Sackler Hall a few times now; speeded up footage (not sure about the correct terminology for this), recording hundreds of locations in the sprawling metropolis over a 24 hour period, is juxtaposed with random facts and figures about London. Together they expose the idiosyncrasies of our beloved capital, and make for a mesmeric, fondly amusing and strangely comforting experience!<br />
I really love this piece.<br />
<a href="http://www.lightsurgeons.com/category/installation/">http://www.lightsurgeons.com/category/installation/</a>Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-29278347721873789802010-01-17T13:11:00.000-08:002010-01-17T13:16:24.230-08:00Electron Microscope Images of Vertebrate Eyes.<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_-rRRmRmWR1c/S1N94T1nJgI/AAAAAAAAAKA/uW6jv3vLr0Q/s1600-h/fig_1_10_big.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" ps="true" src="http://2.bp.blogspot.com/_-rRRmRmWR1c/S1N94T1nJgI/AAAAAAAAAKA/uW6jv3vLr0Q/s320/fig_1_10_big.jpg" /></a><br />
</div><br />
<a href="http://www.optics.rochester.edu/workgroups/cml/opt307/spr06/joe/index.htm">http://www.optics.rochester.edu/workgroups/cml/opt307/spr06/joe/index.htm</a><br />
<br />
Interesting structural and physiological information, and microscopic images of vertebrate eyes in this paper.Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-44088795913781609232010-01-17T12:26:00.000-08:002010-01-17T13:26:46.513-08:00Nerve Cells Live Double Lives: http://www.sciencedaily.com/releases/2009/10/091006104051.htm<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_-rRRmRmWR1c/S1NzCGSzuVI/AAAAAAAAAJ4/qB1ksKhdRM8/s1600-h/091006104051-large.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" ps="true" src="http://1.bp.blogspot.com/_-rRRmRmWR1c/S1NzCGSzuVI/AAAAAAAAAJ4/qB1ksKhdRM8/s320/091006104051-large.jpg" /></a><br />
</div><br />
I was searching for images of sensory cells and found this article. The complexity and sophistication of living organisms is incredible! This image of a mouses retina looks looks like a galaxy, nubula or exploding star. I am continually struck by the endless repetition of form, shape and pattern on both a cellular and cosmic scale, the human mind, human inginuity and the development of technology to record such things. <br />
<br />
Cleaver little ganglia!<br />
<br />
<a href="http://www.sciencedaily.com/releases/2009/10/091006104051.htm">http://www.sciencedaily.com/releases/2009/10/091006104051.htm</a>Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-6865044012499981212009-12-05T10:59:00.000-08:002009-12-05T11:09:58.663-08:00Anthony Shaw Collection.Richard Lauder suggested I look at this during my tutorial session (26/11/09).<br />
It would give me the opportunity to see examples of Gillian Lowndes pieces in the flesh.<br />
<a href="http://www.anthonyshawcollection.org/collection.htm">http://www.anthonyshawcollection.org/collection.htm</a>Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0tag:blogger.com,1999:blog-3135839751711783950.post-50194213423550497792009-12-05T10:06:00.000-08:002009-12-05T10:06:25.405-08:00Julie Major; mixed media sculptures.<span style="background-color: silver;"></span><br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_-rRRmRmWR1c/SxqdczLk0mI/AAAAAAAAAIo/nyNWrwj7ypk/s1600-h/image_6_large.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" er="true" src="http://4.bp.blogspot.com/_-rRRmRmWR1c/SxqdczLk0mI/AAAAAAAAAIo/nyNWrwj7ypk/s320/image_6_large.jpg" /></a><br />
</div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">'Blanch' 2009; plaster polymer, waxed felt.</span><br />
</div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;"> 60cm x 60cm x 35cm.</span><br />
</div><br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><span style="font-family: Arial, Helvetica, sans-serif;">Thanks Esmarelda for putting me onto this work; these pieces are fascinating. The way she has combinated metal, ceramic and fabric together is really successful, also the way she balances intense colour with neutral shades and with white. Very organic shapes and structures that suggest all sorts of things! Piercings with emergent elements that could be biological or part of an exotic plant or animal. The contrast between soft, yeilding surfaces and hard, sharp, aggressive forms creates the sort of tention I would like to achieve in my mixed-media pieces. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">It would be interesting to see them made on a larger scale.</span><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="http://www.julie-major.com/docs/artworks.html">http://www.julie-major.com/docs/artworks.html</a><br />
<br />
<br />
</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_-rRRmRmWR1c/SxqYMszw6lI/AAAAAAAAAII/wR-vEKRsPN0/s1600-h/image_3_large.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" er="true" src="http://3.bp.blogspot.com/_-rRRmRmWR1c/SxqYMszw6lI/AAAAAAAAAII/wR-vEKRsPN0/s320/image_3_large.jpg" /></a><a href="http://3.bp.blogspot.com/_-rRRmRmWR1c/SxqYO5vPFrI/AAAAAAAAAIQ/Q0w2H50H1NE/s1600-h/sweet-spot-sd.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" er="true" src="http://3.bp.blogspot.com/_-rRRmRmWR1c/SxqYO5vPFrI/AAAAAAAAAIQ/Q0w2H50H1NE/s320/sweet-spot-sd.jpg" /></a><br />
</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">(Top) 'Cherry Picking' 2009; plaster polymer, waxed felt, glass bead </span><br />
</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">126cm x 100cm x 24cm.<br />
</span><br />
</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">(Bottom) 'Sweet Spot' 2009; plaster polymer, fabric </span><br />
</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">42cm x 42cm x 22cm.</span><br />
</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_-rRRmRmWR1c/SxqYRAiq91I/AAAAAAAAAIY/ELzzdX3nSBQ/s1600-h/collar1-sd.jpg" imageanchor="1" style="cssfloat: left; margin-left: 1em; margin-right: 1em;"><img border="0" er="true" src="http://3.bp.blogspot.com/_-rRRmRmWR1c/SxqYRAiq91I/AAAAAAAAAIY/ELzzdX3nSBQ/s320/collar1-sd.jpg" /></a><br />
</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><br />
<span style="font-family: Arial, Helvetica, sans-serif;">'Collar I' 2009 plaster polymer, fabric, gesso </span><br />
</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">30cm x 30cm x 12cm. </span><br />
</div>Wendy Helpshttp://www.blogger.com/profile/01725094868585586705noreply@blogger.com0