Thursday, September 29, 2011

Jason de Caires Taylor

Hombre en Llamas (Man on Fire)
Depth 9m, Cancun / Isla Mujeres, Mexico.
La promesa (The promise)
Depth 6m Cancun / Isla Mujeres, Mexico.
La Jardinera del la Esperanza (The Garden of Hope)
Depth 4m, Punta Nizuc, Mexico.
I want to be in the sea, be the sea, be a rock in the sea.

Available at: [Accessed 29 September 2011]

Friday, September 16, 2011

Anish Kapoor

Why shooting into a corner? Why red wax? Why wax at all? 
This all seems so hopelessly pointless, that I cant help but like it more. Shooting into a corner is futile, the only purpose to create. Every action is a vehicle for the Artists idea, which makes it all the more special in my eyes. The cannon is operated by unknown characters, following an instruction.

Available at: [Accessed 16th September 2011]

Wednesday, September 07, 2011

JMW Turner

The Shipwreck of Minotaur, 1810.
Classic depiction of light in 19thC painting.

Available at: [Accessed 7th September 2011]

I'm too sad to tell you.

Bas Jan Ader, 1971.

No words can describe the feeling, only visual representation. Whether this comes from joy, misery or has any meaning at all is something I can only guess at, yet I understand only too clearly.

Bas Jan Ader - In search of the miraculous

The artist who sailed to oblivion

Sailing on the sea, at the hands of God, fate or the hope of a miracle is a chance I wish I was bold enough to take. The sea is terrifying, a power so great it drawfs the land we live on.

Walter De Maria

The Lightning Field, 1977.
The Lightning Field. 1977.
The Lightning Field attracts power. There are several facts Walter De Maria states in an anthology: (The Sublime, Simon Morley, Whitechapel) height of the rods, spacing, every rod is a certain height to retain a uniform level despite the undulating ground. Fact prevails and nature takes over the 'Art' side of things.

Available at: [Accessed 7th September 2011]

Jitka Hanzlová

Policeman, 2004.
Moon Shine, 2002.
 I came across Jitka Hanzlová when reading about the Sublime, she takes photographs in the woods, privately. She experiences fear and hears the silence 'stop' as she looks through the lens.

Available at: [Accessed 7th September 2011]

Valerie Hegarty

Warped Scape. 2009.

First Harvest in the Wilderness with Woodpecker. 2011.

Exposing art to the elements.. Fire, Nature. 

Available at: [Accessed 7th September 2011]

Liliana Porter

Forced Labour (Weaver- Blue). 2008.
Detail: Forced Labour (Weaver- Blue). 2008.
Red Shoes. 2010.
Scale, feeling small, being small. We are insignificant, but only when compared to others.

Available at: [Accessed 7th September 2011]

Wlodzimierz Cygan

No-Full. Wool/Linen. 2010.

Detail: No-Full. Wool/Linen. 2010.
Available at: [Accessed 7 September 2011]

King and Queen

A modern update on the King and Queen rocks, much changed since the postcard circa 1912. 

I bought this postcard at the second hand market. After the photograph of the rocks in the sea I found in my step-grandfathers collection I became fascinated about being a rock in the sea, holding fast against time. The modern photograph shows time has taken its toll, but only a little.

Robert Smithson

Spiral Jetty. 1970.
Broken Circle. 1971.
Art on a huge scale, altering actual land masses. The Spiral Jetty is in a 'dead sea', is this significant?

Friday, September 02, 2011

Leeds Art Gallery

I went, I saw, I left. 

Kevin Laycock. Collision. 2009.
Francis Bacon. Head V|. 1941
John Piper. Derelict cottage, Llanthony.
Gillian Ayres. Helios. 1990.
Peter Lowe. Skewed Relief no 2/10. 1980.
Adelsteen Normann. The Sognefjord, Norway. c.1885
John William Inchbold. Stonehenge. 1872.
John William Inchbold. At Bolton (The White Doe of Rylstone). 1855