Here is the complete transcript of the 41 comment sheets from my installation space project on tuesday 12 Feb. Visitors were asked to comment on the relationship between two pieces of work within a random sequence of 42 pieces:
34 ß à 5
Connections between style of the
works and both pieces, although different scales they both fill the pages
completely.
Charcoal
CARVING OUT At the coal face
Spontaneous use of line
Path/journey
Free,
loose, expressive
limited colour palette
5 ß à 7
tight vs loose
important spaces
Memory
Fluid/fixed
Keep
moving
Squiggly
Father’s for Justice
Same location?
Lines
BlocK COlOUR
Linear angles
Curves
7 ß à 6
OUTSIDE
SPACE
Monochromatic
Window-like
Dark space
Monochrome
MONO black ((gray)) à lighterrrrr
darkerrrrr
white
white
& dark colour space in both pieces
Chopped shapes,
differing grades
Image slowly fading positive/negative
Presence/absence
6 ß à 9
MARSH
Silhouette
of a face
ß
flowing
Basalt
Animal vs civilisation
dark
smudges
Texture
I see a relationship between these
Two images the texture of the graphic/
Pencil one seems to be a focused in area
Of part of the figure in the other image
à
But enlarged and abstract
These 2 images
evoke a sense of
Movement enticing
my eye to a tennis-like
left-Right
observation
The fragments of
charcoal area on the left
seem to be drawn
toward the ‘swoosh’
depiction on the
right & vortex-like
composition as the curves return my eye on a
journey back toward the left and so-on
9 ß à 31
journey into the juxtaposed with landscape
unknown well
Perspectives
flowing-round
(arching)
Isolation Archaic pleasures
Pope
grainy vs Smooth
31 ß à 4
H a r e (Hidden)
Sense of
Story/happening
storm
wind
sparrows
bees
cows
weeds
ants
horizon
they seem to be different
frames of
the same film
Walk
narrative
landscape both from
photocopies
noise
movement
ecosystem
4 ß à 28
past +
present
future
of
things
to
come
Holiday
Memories
Shopping
BAG
Places/event
28 ß à 33
WORDS –
‘ATLANTIC’ vs VISUAL DEPICTION OF WATER
FLUID
FEEL & COLOUR
Colour induction
Similar use of
colour
Breaking down
WATER
Colour/use of lines
& movement
abstraction
I feel drawn towards these two
pieces of work. I feel they connect because
of the text world slavery, versus port, trading port. They both have a water element too.
33 ß à 29
linear texture
Dorset
Use
of
curved
lines short black and white
lines
feel of emptiness
rhythm Music
Short lines, mark-making –
MARK MAKING
29 ß à 38
SAME
LOCATION? RUBBING + LINO
SECLUSION
A flowing in
different visual languages
Hidden Artist
Both remind me of
water, maybe the same place but one a close-up?
38 ß à 16
places
lines
Microscopic
Levels of vision
Fat scribbly lines
reflection
16 ß à 30
Scratches, marked à Damaged
use of a single line
opposite colours
Grainy,
filmic
Lines
tone
-mood
+atmosphere
Dark, cold
contrast
between
hectic +
calm.
use of a funky colour.
contrast of dark shapes and
white.
de-Saturated
un-tamed
30 ß à 36
Turner, reproduced as
a reversed, upside down
photocopy…,
dusk
fog
Bleak, still
sparsity
(reflected
in sky)
Sense of
Still
(over) Exposure
Big space, black splodges
foot Prints
Space
awareness
- negative
space
calmness/stillness
36 ß à 10
Pewsey Hospital
The
beginning!
birth
ß looks like
somethings
about to start,
about to express,
eggs - à
New.
possible perhaps
an
rubbing
of
animal about
excess to exist.
Time … spent
Chaos vS Calm
Solidarity
10 ß à 37
Flight à
Rock . dark
smudges
Birds, eggs, hatching
Strength, violence
Bird? à
sparatic
small bursts of colour.
textures – colours +
linear
patterns
à materials
37 ß à 8
Rainbow
Flight/Aeroplanes/Freeing
8 ß à 27
smudge
Itten
colour/wheel
control/letting go
form and formless
apart and together
primary
colours
Rain
drop
27 ß à15
Sense of meaning
ê
language
within?
Black Mountain
TYPOGRAPHIC
R àE
Boat Race
Celebration
condensed
monochrome
version of the
previous.
more contained
15 ß à 23
More expressive of the
previous.
Bright use of colour.
ONE IMAGE
Tonett
Summer
23 ß à 13
LOCATION
OF
SIGHTED
BIRD?
representation
/ abstraction
language represented in two
different
ways – one clear
and one obscured
print
PUB
. could be
description of
Blue picture?
13 ß à 21
Combining
text
tree .
21 ß à 18
Landscape, plants LAZY
DAY.
and
flowers … our
surrounding
world.
Sort of
domestic setting
also plant
is
similar shape
to cross
18 ß à 3
KEEP NATURE
SAFE
ê
House plant, the link between inside and out.
/Juxtaposition, image
& text .
Still
‘v’ WInD
The Growth is eVIDENT
FROM THE RESULT OF
THE SEEDS EXTENSION
EXTENSIONS OUT
OUT INTO THE WORLD!
THE WORLD OF CONSTANT
CHANGE. THE ONLY
CONSTANT
NOW I CAN HAVE A DOUBLE LOLLY…. .
3 ß à 20
I found a element like a boot
Meltdown .
20 ß à 14
I feel there is a life and death connection
between these two pieces, although both
have a sensuous fluidity.
THE DEAD AND THE LIVING?
A PLAY .
Painting technique, colour.
Solid colour space
Process
of
death –
Death
not the end
14 ß à 12
It’s like a process of dancing
- fast paced lines -
working
within a mood/feeling
MUSIC
12 ß à32
tree house .
32 ß à 42
Strong Shapes, tree à Tower, hanging – leaves
vines,
beads,
fabric
LINEAR
PATTERN – LIGHT &
DARK CONTRAST – UNKEMPT
NATURE
UNKEMPT
URBAN ENVIRONMENT
natural
nature vs manmade
growth trapping
î nature
restraint
These images both Age .
Both look
are focused on linear quite dated
aspects as well as lacking
In colour and tone à both
appear to have an atmosphere
of memory and history Pattern
.
Memory, time, remembrance
42 ß à 25
growing
Breaks up two
similar images
well jungle
structure
Nature
Growth
Nature vs man made
memorys
25 ß à 1
The business with these two pieces
are evident in
that the subject in each fills
their space in almost in its entirety
where in the work on the left is
covered with an
explosion of branches, twigs and
lines while the other piece
is filled with pictures of the
trees that is similar to the
other piece but much more in their
amount and quantity
multiplicity
discovery
Weather.
Nature, journey through line
.
1 ß à 22
. water based
technique related to
the rivers and lakes
in the photos.
A journey?
Slug / train track shape.
foot prints filled with water ,
time
Journey
22 ß à 17
possibly
the
trail/path of slug?
‘flag’ texture
Bon fire .
17 ß à 11
MOTION
Slight
pink
Colour pinkèTexture:
paint brush strokes
both
are painterly
11 ß à 2
Pink, White, painterly strokes, waves
KITCH.
nice cat
self portraiture?
is everything a
self portrait?
HUNTER AND
PREY?
framed
.similar line
details
and curves
. Both are framed
to
some extent
. similar colors
are in
the hints of white
and pinks.
2 ßà 40
Specemin .
expressive
quick
drawing
styles
40 ß à 26
lines cutting
through, dark area to the left,
space
blocked off
Abstracted
versions of real scenes .
OBSERVER AND OBSERVED?
(SUBJECT AND
POINT OF VIEW)
Blue and black
lines criss crossing dark shapes
accumulation & dispersion
Left & right
Similar
colours
and
shapes
Abstract
Marks
Pointillism/Cubism
26 ß à 24
blue
linear
The perspective of the
image and depth of field.
Robot . Constraint
trapped
24 ß à 19
Sky Scraper .
figure
in
disfigurement
19 ß à 35
piNk
!
Sequence
Soho
35 ß à 39
Paper .
partial object
(within frame)
39 ß à 41
Free
NURTURE
re occurring
nature
expressed light / shadow
growth
plantlife
abstract
version / print
- nature
freedom
The next step - and one which will take a lot of time, planning and energy, is to seek 41 fellow art students who will each be asked to make a piece of work in response to a pair of these descriptor sheets. I am excited by the thought of working with people in this way.
When I last visited the reserve in 2008, I was dismayed to learn that the number of Whoopers and Bewick's has declined somewhat since my time there in the seventies and that the two species no longer mingle and feed together as they used to. It is still a spectacular sight and worth a visit on a winter's day to watch the swans' feeding time at dusk.
