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Showing posts with label photographers. Show all posts
Showing posts with label photographers. Show all posts

Monday, 22 January 2024

'From Hong Kong to Wickford' artists











The autumn exhibition at St Andrew's Wickford was 'From Hong Kong to Wickford', a multifaceted pictorial display featuring composer and creator/director of combined-art works and projects Ho Wai-On's lifetime of interaction with UK and Hong Kong based artists/people that have resulted in many creative works. Click here to see a talk Wai-On gave at St Andrew's Wickford about her work.

This post provides additional information and links to some of those who contributed work to this unique exhibition and to some of their work:

Marcus West

Marcus West is a Cardiff based digital artist who utilises CAD software to create abstract artwork. He first began exhibiting his artwork in the early 1970’s at the University College Cardiff and has since gone on to exhibit a range of his projects at institutions across the UK, including London’s Victoria and Albert museum. Historic Tech have an excellent article giving an extensive summary of his career together with many examples of his work. 

Marcus writes: "I first exhibited in the early 1970's at University College Cardiff, as it then was: the exhibition consisted of a collection of geometrical images created with a mainframe computer controlling a plotting device - essentially a ball-point pen moving over the surface of a sheet of paper. 3 of my works dating from this era are in the Digital Art collection in London's Victoria and Albert Museum.

My work from the last decade has been particularly influenced by the artists Victor Vasarely and Bridget Riley. Unlike them, however, I create my work with the assistance of a computer, hence my description of my work as “computer-assisted art”. I imagine a form, express it in terms of the mathematical processes appropriate to create such a form, and I write a computer program to utilise these mathematical processes to place millions of carefully-selected points of colour upon a kind of virtual canvas within the computer‘s memory. Thus the images emerge from mathematical and geometrical first principles, entirely within the computer - I don't typically import photographs into the computer for subsequent manipulation. Finally, the images are transferred from this virtual to the tangible world by printing them using archive-quality inks and paper.

Since devising these techniques, working in this way has become something of an obsession, and I have created many families of works, each embodying a core theme which is then expressed in dozens or scores of carefully-crafted variants. Frequently, of course, this process of exploration will give rise to variants that go well beyond my initial imaginings, which is particularly satisfying.

One of my works 'Fibonacci Image with blue cells emerging from an orange background', was among the 25 shortlisted works in the 2015 Lumen Prize, an international competition for Digital Art.

More recently I have started to make more reference to real-world objects and have moved away somewhat from works that derive from pure geometry."

Marcus’ recent projects have been based around geometric images created using FreeCAD, an open-source general-purpose parametric 3D CAD modeller and building information modelling software with finite-element method support. His process is as follows: "I imagine a form, express it in terms of the mathematical processes appropriate to create such a form, and I write a computer programme to utilise these mathematical processes to place millions of carefully selected points of colour upon a kind of virtual canvas within the computer memory."

To go to his secure store where you can buy framed or unframed prints, and some other merchandise (cards, mugs etc) with his artwork on click here.

Juliet Chenery-Robson

Juliet Chenery-Robson is a visual artist and academic researcher with a strong interest in exploring the terrain that juxtaposes the visual arts and medical science. In 2015 she completed an AHRC funded, practice-led Photography PhD that focused on the visual representation of the invisible illness ME (Myalgic Encephalomyelitis). Adopting a participatory action research methodology, Juliet worked with ME sufferers to create visual and textual portrayals of sufferers’ illness experience. Since completing her PhD she has secured research and development funding, via EngageFMS (Patient & Public Engagement & Involvement), to explore the visualisation of chronic illness as part of an arts and medical science collaboration with Newcastle University’s Medical and Creative Arts departments. 

Background to her ME research: The chronically ill ME sufferer experiences invisibility on four interlinked fronts: physical, social, medical, and political invisibility. The main aim of the project was therefore to create work, in participation with ME sufferers, that could be used as a tool to raise awareness of ME’s invisibility and communicate an understanding of ME to public, art, and medical audiences. By exploring the many layers that constitute ME and by incorporating the personal view of ME sufferers—through a combination of photography, text, audio, SenseCam, family album photographs, and Google Earth images—the research tested different methods of using metaphor to visually represent ME’s invisibility. It has also helped provide ME sufferers with a ‘voice’ by which to communicate the many problems they face as they try to cope with a life that is disabled by ME.

Polly Hope

Polly Hope was a British artist, designer and author. Hope created artworks in a variety of mediums, including paintings, portraits, sculpture, textiles and ceramics. Examples of her artworks are in the permanent collection of the V&A.

Bryan Robertson wrote that: "Polly Hope works consistently as a figurative artist with a keen appreciation of abstract principles and she likes to move freely from one medium to another, from drawing to painting, from printmaking to photography, from making sculpture to designing and executing murals and other decorative commissions. She excels as an artist in all these disciplines and sometimes likes to blur the edges herself between different techniques ... 

Polly Hope has a strong decorative flair and in recent years she has completed some large-scale schemes: painted murals at the Barbican Centre London, ceramic murals and sculptures for the new Shakespeare's Globe theatre in London, as well as a fountain in Switzerland. The range and variety of her work is part of her strength - she has also recently completed all the drawings for a half-hour animated film and made a perfect sequence of vistas in watercolour of Hong Kong's islands and waterways - but it means that her identity as an artist sometimes eludes conventional assessment. For some years, for instance, she created a long sequence of stuffed soft sculptures, bringing whole aspects of classical sculpture, religious iconography and folk-art to new life with three dimensional stuffed, sewn, appliquèd, coloured and patterned figures: scenes and situations of tremendous wit and poetic verve, one of them neither a scene nor a situation but a richly detailed portrait of a well known English museum director with a love of gardening and cats: the man in his world."

In Wickford we showed Hope's portrait of Wai-On, which can be seen by clicking here.

Benson Wong

Belford Jewellery was first established in 1977 by Leung Kwok Ching and her brother-in-law Benson Wong. Belford started off as a passionate hobby of two art-loving owners commissioning designs for good friends and valued clients. Benson, being the youngest sibling in his family, had a natural talent in design at a very young age and a strong passion for all things beautiful. A fashion designer by training, he first gained exposure to the jewellery industry from spending time at his brother’s diamond wholesale company, and was captivated by the dazzling universe of diamonds and gemstones. He realized the endless possibilities he could create by combining the design skills he garnered during his studies in England with the colourful treasures of nature, thus began his love for jewellery design.

Throughout the years, Belford has endeavoured to unite functional art with quality craftsmanship, and with Benson as the forefront, their design team has won numerous awards for their inspiring jewellery designs, and the company has become an established brand name in the industry.

For 'From Hong Kong to Wickford', Benson provided prints of designs from his work in fashion to his jewellery designs. This included the “cyclic group” symbol he used to create a movable diamond pendant - see here.

Albert Tang

Albert Tang is an actor and model who has also trained in architecture and music. Wai-On writes: "I met Albert Tang during my first year at the Royal Academy of Music, At the time he studied piano privately with Peter Katin. He is multi-talented and we have a lot of common interests. When I had the idea for this multi-media work, 'Metamorphosis', I asked Albert to be the artistic director."

In the exhibition, we displayed Tang's 'Metamorphosis' designs and examples of his art works.

Ruth Cutler

Ruth Cutler has been described as Thanet’s greatest living-here artist. Her Sea Garden project in Ramsgate was crafted from local stones and plants and transformed a piece of wasteland.

We displayed prints of work by Ruth Cutler previously displayed in Wai-On's InterArtes events.
 
The exhibition also included poetry from David Tong, photographs of the Buddha by Kitty Kwan at Leshan Giant Buddha, Dazu Rock Carvings and Longmen Grottoes, photographs of Moon Festival Celebrations in London's China Town by Roy Reed, photographs of Hong Kong birds, photographs of Hong Kong by Clark Ainsworth, images by Wai-On's fellow students from , photographs by Ben Rector and Martin Singleton used in music videos created by Wai-On, and 'Blessed', a music video made on the retirement of a former Team Rector of the Wickford and Runwell Team Ministry using imagery from St Andrew's Wickford.

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Ho Wai-On - Blessed.

Wednesday, 21 April 2021

ArtWay: Photographing Religious Practice

My latest article for ArtWay is entitled Photographing Religious Practice and discusses the increasing prevalence of photographic series and books exploring aspects of religious practice:

"Gorick’s discoveries provided her with a completely different perspective on the City of London and her hope now is that her photographs will inspire others to push open church doors and explore their spiritual nuances.

Similarly with the work of Mandle, Polidori and Tomlinson, where the beauty of their photographs, encourages us to go beyond their images by entering the history, tradition and reality of peaceful prayerfulness to which they connect."

I have previously written about Niki Gorick here, S. Billie Mandle here, Alys Tomlinson here
Markéta Luskacová here, and Robert Polidori here.

My Church of the Month reports for ArtWay are: Aylesford Priory, Canterbury Cathedral, Chapel of St. Thérèse of the Child Jesus and the Holy Face, Hem, Chelmsford Cathedral, Churches in Little Walsingham, Coventry Cathedral, Église de Saint-Paul à Grange-Canal, Eton College Chapel, Lumen, Metz Cathedral, Notre Dame du Léman, Notre-Dame de Toute Grâce, Plateau d’Assy,Romont, Sint Martinuskerk Latem, St Aidan of Lindisfarne, St Alban Romford, St. Andrew Bobola Polish RC Church, St. Margaret’s Church, Ditchling, and Ditchling Museum of Art + Craft, St Mary the Virgin, Downe, St Michael and All Angels Berwick, and St Paul Goodmayes, as well as earlier reports of visits to sites associated with Marian Bohusz-Szyszko, Marc Chagall, Jean Cocteau, Antoni Gaudi and Henri Matisse.

My visual meditations for ArtWay include work by María Inés Aguirre, Giampaolo Babetto, Marian Bohusz-Szyszko, Alexander de Cadenet, Christopher Clack, Marlene Dumas, Terry Ffyffe, Antoni Gaudi, Nicola Green, Maciej Hoffman, Lakwena Maciver, S. Billie Mandle, Giacomo Manzù, Michael Pendry, Maurice Novarina, Regan O'Callaghan, Ana Maria Pacheco, John Piper, Nicola Ravenscroft, Albert Servaes, Henry Shelton, Anna Sikorska and Edmund de Waal.

Interviews for ArtWay include: Sophie Hacker and Peter Koenig. I also interviewed ArtWay founder Marleen Hengelaar Rookmaaker for Artlyst.

I have also reviewed: Art and the Church: A Fractious Embrace, Kempe: The Life, Art and Legacy of Charles Eamer Kempe, and Jazz, Blues, and Spirituals.

Other of my writings for ArtWay can be found here. My pieces for Church Times can be found here, those for Artlyst here, and those for Art+Christianity are here.

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Revolutionary Army of the Infant Jesus - Bright Field.

Saturday, 21 November 2020

Artlyst: Marcus Lyon: Human Atlas Explorations – Interview

My latest interview for Artlyst explores the Human Atlas projects of Marcus Lyon, focusing on the most recent iDetroit:

'... my intention with this work, [is] to give people a chance to experience something more powerfully and with more depth. I think that’s the gift we’re trying to give. I’m very intentionally and practically building processes to help people slow down in a fast world. I think within the Human Atlas process our endeavour is to facilitate a deeper meditation on what it means to be you, what it means to be me and what it means to be we.'

My other Artlyst pieces are:

Interviews:
Articles:
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Marvin Gaye - Right On.

Saturday, 17 October 2020

Review: Faith in the City of London

My latest review for Church Times is of Niki Gorick’s book 'Faith in the City of London' and her open air exhibition currently in Paternoster Square, London EC4, from 3 October to 28 October, before transferring to Aldgate Square, Aldgate High Street, London EC3, for its run from 29 October to 26 November:

'Her images reveal that faith is alive and well in the City of London; just as is also the case across the UK. In essence, her project could be repeated within parishes up and down this country, as it is based on recording the many and varied forms of engagement between churches and their local communities ...

Gorick’s book and exhibition are valuable not just for the excellence of her imagery and the interest of the events recorded, but as a challenge to the way in which the Church communicates with the wider world through the media.

If the true breadth of its life and engagement were to be shared as Gorick has done for the City of London, then counteracting the common view of the Church, providing reminders that faith is an important part of life, and encouraging people to push open church doors and explore our spiritual nuances might all be seen and valued.'

Other of my pieces for Church Times can be found here.

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Franz Liszt - Rapsodie.

Friday, 11 October 2019

Review: Robert Polidori Fra Angelico / Opus Operantis

Fra Angelico’s frescoes represent a revolutionary moment in the development of the Renaissance and Western Art. He was an active participant in the renaissance of the arts that took place in Florence and which formulated a new way of seeing that, in time, came to dominate Western art until the modern age. Using psychology and perspective, Fra Angelico’s frescoes are a radical first step towards realism within Western art; his Annunciation being the first Florentine altarpiece in the Renaissance style to use perspective in organising the space and acute psychological insight in his portrayal of characters.

Yet, because Fra Angelico painted his frescoes on the Life of Christ for the meditations of the brothers at the Convento di San Marco in Florence, his images also function as windows into the divine – in other words, as icons.

It is this aspect of Fra Angelico’s art that Robert Polidori has observed and highlighted in a series of painterly photographs taken in 2010 of the restored frescoed interiors in the 15th Century San Marco Convent. Polidori is an acclaimed photographer of human habitats, particularly interior spaces, in ways that mark the imprint of past lives. In these images, he reveals the iconic nature of these frescoes by viewing them through openings and against openings, noting that they are created within window-like shapes and alongside openings, whether windows or doors.

In these photographs we are always made aware of deeper space beyond the central focus or frame of the image. This something beyond which we glimpse through the openings that Polidori includes within his images is a synergistic parallel to the function of Fra Angelico’s frescoes, which, through meditation, are intended to connect the brothers with the Christ whose life is depicted so compellingly on the walls of these cells.

Awareness of recessional space is most apparent in Cells 38 and 39 which were built as a double cell, at the end of the corridor for lay brothers, for Cosimo de' Medici, who belonged to the community by virtue of his patronage. Cosimo was an Italian banker and politician, a member of the Medici family which ruled Florence during much of the Italian Renaissance. In 1437, Cosimo decided to rebuild Convento di San Marco entrusting the work to Michelozzo di Bartolomeo Michelozzi and the decoration of the walls, carried out between 1439 and 1444, to Giovanni of Fiesole, known as Fra Angelico, and his assistants including Benozzo Gozzoli. It is known that Cosimo loved to pray and meditate in these spaces, yet this wider knowledge of his piety and modesty may also have strengthened his power and legacy. In this cell, therefore, politics, religion and artistry combine in a creative tension which exemplifies the Renaissance.

This is the most spacious and elaborately decorated of all the cells. On the entrance wall of the lower room (Cell 38) Fra Angelico painted the crucified Christ against a ground of costly lapis lazuli, rather than the bare plaster background found in the other cells. Polidori views this image from outside through the frame of a circular window, then, from within, shows us the same image alongside the stairs and doorway by which Cosimo ascended to Cell 39. There his gaze was met by The Adoration of the Magi and the image of Christ as Man of Sorrows in a recessed tabernacle immediately below. Polidori gives us a ravishing view of these paintings created by Fra Angelico’s assistants while ensuring that we also glimpse the openings above and below the doubled images in this second cell.

Polidori’s highly detailed, large-format colour photographs are created with long exposures and using natural light. Through their detailed command of colour, texture, light and shade, these images invoke stillness and contemplation thereby mirroring the function of Fra Angelico’s frescoes and turning this gallery, with its wealthy patrons, into a cell for the duration of this exhibition.

For this transition to occur, however, we, as viewer, need to mirror the attitude and openness of the brothers as they prayed before Fra Angelico’s frescoes. This is the import of Polidori’s title for this show, which emphasises the necessity of response and receptivity on our part, as viewers, if we are to go beyond the beauty of these photographs and enter the history, tradition and reality of peaceful prayerfulness to which they connect.

Robert Polidori: Fra Angelico/Opus Operantis, Flowers Gallery, 21 Cork Street, London W1S 3LZ. 4 September – 12 October 2019

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Nicholas Wilton.

Saturday, 3 August 2019

Foyer Display: Dan Kaszeta





The changing monthly display by the artists' and craftspeople's group in the Foyer of the Crypt at St Martin-in-the-Fields for August is by Dan Kaszeta. Each month a different member of the group or artists linked to it will show examples of their work, so do look regularly to see the changing display.

Dan’s photographs were all taken on the same day in October 2010 during a visit to Liwonde National Park in Malawi, a 212 square mile park known for its wildlife. He explains: 

‘It was the end of the dry season and animals were concentrated around the Shire River, practically the only remaining water until the rainy season began after this visit. Susannah Woodd of this congregation was the driver during this small safari. 

The elephant in the first photo was quite unconcerned with our presence. The second photo was shot at considerable distance. The remaining elephant photos are of a group that were crossing through the forest. We were very lucky to spot them. I approached on foot only to have the group stop, turn on me, and decide that they did not like me. They were making stark eye contact with me and did not trust me. It was best for me to retreat.’ 

All of the photos were shot on slow-speed ASA 50 Fuji Velvia colour slide film, known for its rich colour saturation in bright sunlight, and were subsequently scanned to create “Giclee” prints.

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Hothouse Flowers - I Can See Clearly Now.

Friday, 12 April 2019

Alys Tomlinson & Markéta Luskacová: Ex Voto & Pilgrims

My latest review for Church Times compares and contrasts Alys Tomlinson's Ex-Voto photographic series on the theme of Pilgrimage with the Bohemia-born British-based photographer Markéta Luskacová’s documentary series Pilgrims, currently on show at Tate Britain.

Mike Trow, chair of judges for the Sony World Photography Awards 2018, says that Ex-Voto is a sensitive illustration of the “idea of pilgrimage as a journey of discovery and sacrifice to a greater power” through “quiet images, beautifully produced, with a calm, spiritual feel that is at odds with so much of our frenetic lives”.

'Luskacová wanted to record the pilgrims’ way of life, because she thought that it would not survive for much longer. Tomlinson’s fascination with contemporary pilgrimage and the warmth of reception for her images reveal the enduring strength of pilgrimage as a human endeavour that has not been lost in the period from 1967 to 2018. Tomlinson’s images reveal the endurance of faith in the 21st century.'

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Norah Jones - Sunrise.

Friday, 30 November 2018

The micro and the macro

The micro and the macro can be contrasted through exhibitions of photography at the Large Glass and Flowers Galleries.

Guido Guidi: Per Strada is a selection of 27 prints by the Italian photographer, to coincide with the publication 'Per Strada’. These photographs were made by Guidi from 1980 to 1994, along the Via Emilia – an ancient Italian road connecting Milan with the Adriatic Sea, which passes close to his home in Cesena.

Guidi's métier is close observation of ordinary things - the peripheral, the overlooked and ordinary - and this is what constitutes beauty and life both on and around the via Emilia, as he explained in a recent interview:

"It is a way of bowing down before things. And that is the religious aspect, a respect for things, for the blade of grass and wanting to give back by means of a precise photograph, where the execution of the detail is perfect, absolute, with no grain. The photograph must be absolute, transparent and cannot be corrected and reviewed later. As Didi-Huberman says, for the ancient painters of the 1400s, the act of imitagere or copying nature was in itself an act of devotion. Not necessarily mastery or technical virtuosity but an act of devotion towards things, the “things which are nothing” as Pasolini says.”

For Guidi, as Charlotte Higgins has remarked, ‘his work is not about the decisive moment but the “provisional moment” – the idea that this moment is one of a procession of many.[i]’ Very often, his images ‘show some kind of aperture – a doorway, a window, the arches of a portico, even the edge of the lens itself.’ A photograph is a frame, he says, ‘and if you put a frame in the picture, you are suggesting that this is not the whole world, that there is something outside.’ As with his close observation of the peripheral and provisional, this device too has a religious aspect, as these photos
direct our attention to what is beyond.

By contrast, the images in Civilization are primarily of cityscapes and crowd scenes taken from height and capturing pattern and movement on the macro level. Visually epic, this exhibition includes: Edward Burtynsky’s images conveying both the sublime aesthetic qualities of the industrialised landscape and the unsettling reality of depleting resources on the planet, through a series of geometric compositions photographed from the air; Nadav Kander exploring the vestiges of the Cold War through the radioactive ruins of secret cities on the border between Kazakhstan and Russia; Robert Polidori creating meticulously detailed, large-scale colour photographs that capture the vestiges that evoke the essence of each setting and its particular meaning, as framed by economic, historical, geographic, political and social forces; Simon Roberts’ conflating the traditional genre of landscape with social documentary by positioning the camera at a deliberate distance and elevation from the most obvious scenic viewpoint, focusing instead on the sidelines or peripheral spaces; and Michael Wolf focusing on life in mega cities documenting the architecture and the vernacular culture of metropolises.

Our fast-changing world is seen from above revealing the complexity of our collective human enterprises which are perpetually evolving, morphing, building and demolishing, rethinking, reframing and reshaping of the world and the people within it. Never before in human history have so many people been so interconnected, and so dependent on one another.

As with the Guidi exhibition, Civilisation is presented to celebrate the launch of a new publication - Civilization, The Way We Live Now by William A. Ewing and Holly Roussell, published by Thames & Hudson.

These contrasting exhibitions show the differing values of close-up, which reveals ‘heaven in ordinarie’ and hints at the beyond, and also of the wide angle city or landscape, revealing the patterns forming the material and spiritual cultures that make up ‘civilization’.

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Small Faces - Afterglow Of Your Love.