Recently I've been stacking 5 x 5 cm squares of canvas into cubes and then arranging these into larger compositions. Stacking seems to accept gravity and emphasises depth in space, and to me this creates a kind of transparency since nothing is hidden. I like the contrast between the geometry and order of these things, and the texture, tones and anomalies of the material (laser-cutting burns the edges of the canvas). It occurs to me that perhaps I'm taking the painter's plane on a different journey.
Robert Moon is a visual artist working with sculpture and photography. Born in London, he lives and works in Kingston, Surrey and has a BA in Fine Art/Sculpture from Sheffield City Polytechnic (1987) and an MA in Fine Art/Combined Media from Chelsea College of Art & Design (1994). From 1999 to 2005 he lived in Los Angeles where he focused on photography and showed in a number of exhibitions including: ‘Stone Soup’, Three Day Weekend (2001); ‘Empty Nest’, Sweetboy Projects (2002); ‘The Cat Show’, ACME (2003); ‘Art/Design LA’, American Institute of Graphic Arts (2003); and ‘TarFest’, Craft & Folk Art Museum (CAFAM), (2005). His recent work has seen a return to sculpture, making small works from unprimed canvas.
Katya Robin (b. 1964, lives and works in Sheffield). Recent group exhibitions include12-12-12 at Bank Street Arts; Cantor Cartons at SIA Gallery, Klub Kube at LoBe, Berlin, for which she made Reel, a functional sculptural object, constructed from polycarbonate and plywood. Her recent publication Charter Square Sheffield Risinguses photos, text, and diagrams to link the tessellating patterns of the 1960s Brutalist development with the thwarted Sheffield Chartist Rising of 1839. Katya works across a range of media from watercolour, artists books, photography, to digital design and 3D works.
I’m a multidisciplinary artist currently expressing myself through making mixed media work, installation, artists’ books and printmaking. The focus of my most recent work has been on ancient sacred texts. I have also been exploring using inexpensive, everyday and recycled materials to make thought-provoking works of art.
The Tao Te Ching is an ancient Chinese Taoist text. It says that out of the Ineffable (the Tao) the number 1 is created 1 then creates 2, 2 then creates 3 after which point all numbers and all Creation are manifested.
“The Ten Thousand Things” represents the large indefinite number in the culture and time that the Tao Te Ching was written. It describes that which is too numerous to be counted. The “Ten Thousand Things” are sometimes translated as “Myriad” the cardinal number that is the product of ten and one thousand.
I am representing the Myriad or Ten thousand Things in the form of numerous origami paper boats.
Cutting into an existing painting causes me to think about the artist responsible for the original work and the absurdity in my actions: What right do I have to do this? If I choose to cut a value from the canvas this value could be related to personal events, witty or critical observations, or context, as well as being the price of the work. Of importance is the responsibility in enabling thoughts that may question our identity, philosophy, beliefs, ideas, and actions. They are my expressions in an increasingly entropic world.
Elizabeth uses the process of making as a way of mapping time. Repeated stitched marks are used to build up an organic and fluid picture within a set amount of time; creating a drawing that is fuelled not only by the varyingly subconscious decisions as to where each mark will sit but also the subjective notion of the time passing.
Elizabeth also makes work with a collective called MidConversation.
Edith Nicoll was born in 1886 and lived until 1984. She was my grandmother. This work is an acknowledgment of that life and a tribute to that woman. It is done within a historical context in order to reflect on the many changes that took place within her lifetime. Although the historical facts are in order they have been chosen for many and various reasons and not always because of their historical significance.
My practice explores notions of fragility and fragmentation, fascinated with the dreamlike. I take a lot of inspiration from nature, distorting and manipulating imagery into something unreal. For Living Numbers I will work directly onto the surface of the space, obsessively and repetatively drawing my image – the piece expanding during the course of the show.
Miracles of Invention and Discovery: The Accurate Measuring Device is a ruler measuring the planets in our Solar System. The intention behind this work is to create practical device that can be used by a member of the public to visualise the Solar System. Inspiration came from a children's science book about space and time where the author encouraged readers to map out the Solar System in their living space. The work intends to critque our humanistic need to measure and map the huge distances that in reality are beyond our comprehension.
Some time ago, I began working on the theme of ‘Mathematical Curves’, in which I concentrate on a body of work linking mathematical ideas with gender stereotypes, and the conflict between creativity and prescribed modes of thinking and logic.
I am interested in the Mathematical aesthetic and the elegance of mathematical language and forms. In each of my ‘Mathematical Curve’ prints, there is a female figure. She is constrained by the physical form of the curve. She is imprisoned by it. The fact that this idealised female figure wears a corset, emphasises this restraint and restriction of both movement and expression.
The figure in the images is, to a certain extent, autobiographical, as her movement is constrained by the form of the curve and she cannot break away from it. Much of the inspiration for my current work stems from my previous career teaching maths and statistics
Ruth Simons works from a studio in Oxford and is currently the Open Access printmaking resident at South Hill Park Arts Centre, Bracknell. She has just completed a BA (Hons) in Fine Art at Oxford Brookes University, having previously studied Metallurgy, Economics and Management at The University of Oxford and this interest in science and materials underpins her work. Her practice examines the universe at both macro and micro levels, exploring chaos as the boundary between pattern and chance. These themes are investigated through drawing, print, bookworks and installation. She was shortlisted for the Jerwood Drawing Prize 2012.
Her installations and drawings explore ideas of convolution, abundance and man’s interaction with nature, examining the simultaneous simplicity and complexity of the universe and the apparent randomness that belies the self-generating and self-similar patterns concealed within the intricacy of life.
My practice sets up a dialogue between the notions of the immediacy/delay, digital/ handcrafted processes and virtual/ physical in relation to narrative. My work explores the encoding of text / images through repetitive and labour intensive processes which result in distorting and obscuring images or information. In my QR blankets I have developed the idea of the encoded text as a signifier of portraiture.
The days of our years are threescore years and ten. Psalm 90 verse 10
Our days are numbered. Our hearts will beat for threescore years and ten, then stop.
How many heartbeats in a lifetime of threescore years and ten? An average heart will beat 2,575,440,000 times in 70 years. Yet we are hardly aware of it in our daily lives.
Three Score Years and Ten is an audio visual sound installation referencing the heart as both functioning body part and sacred symbol.
Margaret Godel is a contemporary artist living and working in Oxfordshire. Three Score Years and Ten – 2,575,440,000 heart beats is one of several works exploring human existence and experience: animal/human; object/ subject; myth and existential dilemma.
Laura Jones is an artist living in Bath. Having recently completed a Masters in Textile Design at Bath Spa University, she now works as part of the Education team at the Holburne Museum.
Laura produces work concerned with the notion of identity and self. The body of work appearing in Fringe was inspired by the children of the Foundling Museum in London and the tokens and objects on they have on display. She has produced tiny handmade paper shoes to evoke this heart rending tale.Laura felt compelled to produce work based on this fascinating yet harrowing story in the form of handmade paper sculpture, combining the use of digital print and wax.
'Living Numbers' compliments this body of work beautifully, as each handmade shoe represents a foundling - all of whom were given individual numbers and names. Other works in the series include handmade waxed paper dresses and bonnets.
Laura's work will be appearing as part of a touring exhibition entitled 'Miniature Worlds' from the May 3rd - June 30th in various locations in the North of England. For more information about the craft tour please visit: http://www.highlightsnorth.co.uk
Artist Website: www.lauramjones.co.uk
In 2011 the census reported 176,000 people living in Bath and North East Somerset – there are probably more now. How can we visualise this number? Does it have any meaning beyond a piece of statistical information? I have represented this population in relation to random statistics gleaned from the internet. Each person becomes a drawn circle. The key categorises individuals, but in doing so confuses rather than clarifies.
It is no use shouting or complaining.
Avoidance maybe possible, but very unlikely.
Dismissing the call of the cult television character from the sixties who protested ‘I am not a number’ I can merely confirm forty five years later, ‘I am only numbers’.
There is no avoiding the aging process. As the number increases, the face changes. What will I look like when I get old?
I am currently studying for Art AS level and would like to go into illustration once I leave school. I am particularly interested in drawing, comic illustration and stop-motion animation, and I'd love to illustrate books.
Paul Malone is an artist based in Deptford, London. As an occasional hobby he likes to deliver milk to the workers and good citizens of the South Bank. For some unfathomable reason, elements of the corporate sector are only too happy to provide him with money for this activity. On the other hand there are contrary elements that seek to thwart this economy. This document is part of an occasional series that seeks to ferret out the identity of those responsible by means of the signs, symbols and ritual traces that they leave behind on the surface of the street.
From The Maths on the Street 01 : Over the past years I have been photographing the street markings of South Central London and posting them up in these occasional catalogues. There has been quite a positive response from my audience but there are still those critics who question the validity of my premise. ‘OK I buy the theory...’ they say .’...but where is the maths’. Good point.
In an effort to address these valid concerns I went out in the field once again. This catalogue is the result and I hope it goes, at least in part, to answer my critics. But the mystery still remains... What exactly are these forerunners calculating? It assumes the dimensions of the Underworld are in some way scalar, if not in time then at least in space.
True, some of the calculations are defined in relation to identifiable portals but others just float freely as if they were quantifying some intangible field.
And what of the colours..? Again we are presented with having to posit assumptions that appear, on the face of it at least, reasonable if not logical - only to have these dashed by an irreconcilable phenomenology, bordering on the absurd. By pursuing the maths, we have made significant progress in our understanding of these traces. However, we are still a long way from resolving the who, what and why.
Daily, thousands commute over these markings in blissful if not wilful ignorance. If only there were further insights into the function of what is proposed.
More research is needed.