Unit 2 2013
Introduction
Pathways
exist through time and purpose, evolving slowly with the walker’s rhythm and
movement.
I wander, progress, uncover, connect
and navigate – walking, noticing, thinking. I notice a well-worn spot on Worms
Head; it is here a small herd of wandering sheep return to each evening, their
leader sits on this chosen mound as the sun sinks, looking out across the
landscape and enjoying a spectacular Arcadian view.
I looked at how we depend on our
responses to the landscape view in Unit One - Drawing the Gap. The understanding of landscape aesthetics is an important phenomenon of our environmental perception. Recognition has
no words it is wired straight to brain hot spots enabling us to recognise and respond
immediately to our observations; neural pathways are created through practise,
experience, and knowledge.
In this essay I aim to wend my way
along examining the relationship between observation, place, response and drawing,
collecting relevant facts, exploring significant details and making connections
along the way.
Drawing
communicates without words through the differing elements and qualities it
contains, if unfinished or all inconsequential details are removed there
remains a visual understanding. Accessed by
way of referral, this visual recognition is found from past experiences.
Seeing and
observing are experiences of the present moment that remain with the viewer,
becoming part of any future recognition and continually increasing fluidity in
relation to place. This way we can
acknowledge the glimpse, its apparent smudginess of residual marks express
meaning and our brains complete the information.
I search
for differences as I draw; differences between qualities that can allow
recognition; I observe and describe, maintaining visual directness that relates to visceral
touch and communicating content over appearance.
In an open or abstract
work these observations retain their position to the physical world while
untying their reference to nature.
Walking and drawing
Walking
along a path, differing views come into focus as my eye travels around. I walk,
I look, I stop, but remain standing to maintain the physical energy of this spontaneous interpretation. It is important to make a
quick notation, to record the event but not to get too comfortable with the
scene, allowing awkwardness to remain visible in the drawing. I scan, turning
my head to locate and understand any aspects that motivated my decision to draw
here.
A pause actuated
by structure and space or physicality of angle, slope, drop, gravity, distance,
vast or enclosed or minor aspect that catches my attention and instigates the drawing. I intentionally reject the single
perspective viewpoint, seen as if looking through a window or at a photograph.
It is not a scene as if reflected in a ‘Claude Glass’, time and distance are acknowledged.
Claude
Lorraine painted nature and mankind in harmony, scenes of eternal summer that
dream of pastoral peace and provides an escape from threat or the turbulent
reality.1
The Claude Glass drawing technique made it
easier for other artists to achieve this romantic idyll. It is a slightly convex tinted mirror, 'they give the object of nature
a soft, mellow tinge like the colouring of that Master', amateur artist, Reverend
William Gilpin explained. Tonal values of a view were reduced by the tint and a
neat scene was framed in the convex mirror. Tourists often just wanted to view
the scenery via the mirror to give the real live view an effective and pleasing
'mellow tinge'.
FIG 4 Claude Glass manufactured in
|
FIG 3 From the bank of a river,
watercolour by Reverend
William Gilpin 1724-1804
Joseph
Mallord William Turner was inspired by the popular landscape paintings
of Claude Lorraine with their subtle variations of tone but avoided directly representing
every detail he saw, preferring to work from his experience of being in nature.
He made walking tours throughout his life, hoarding his sketches, considering
them essential aids in recalling ‘every aspect of his experience’.2
Looking
Wandering along
the newly made pathway at Hindhead I pause to look out at the view and sit on
a tree stump in front of the ‘Sailor’s Stone’3; my eye is drawn
around the curve of Devils Punchbowl. Here the new A3 tunnel has returned this
natural space back to Turner’s pastoral idyll.
This
drawing requires more time to investigate the massive space.
Our eyes
become the centre of the world when we apply rules of perspective says Juhani Pallasmaa.4 According
to Greek philosophers
who believed in the dominance of vision, it classifies, organises and orders visual information. Plato saw vision as our greatest
gift and asserted that universal truths should be seen through the mind’s eye.
We see this now in the use of many Greek ocular metaphors for intellect in
everyday language, enlightening us with clear
vision and insight.
Through
visual examination the eye can assess and understand what it sees even at a
distance and even more intriguingly it sees itself seeing, no wonder the
Renaissance classed sight top in their hierarchy of senses.5
Druids
On my way
past the bedroom radio, Melvyn Bragg’s words grabbed my attention; ‘… because
the druids were an oral culture they left no written records of their own …’;6
Druids believed philosophical thought should be stored in the mind. A trained
memory was understood to be vital for intelligence, distrusting the written
word, considering it a lazy method of communication and open to misinterpretation.
These
powerful figures, the intellectual elite who spoke Latin, were highly organised
motivators and keepers of culture; they read nature and the sciences through
observation alone. Nature spoke directly to the Druids, an original eco community
who control knowledge of time and the science of plants and healing; but their
deeper traditions of oral language became obscured by the written word and the
dominance of Christianity.
Randomly
walking through Piccadilly I noticed an unusual feeling of quiet emptiness, no
cars, closed roads and high zipwires connecting buildings. A feeling of
expectation built in the twilight. Angels appeared overhead and the space
around Eros filled with feathers, I was standing in the centre of this familiar
but now crowded place experiencing the strangest sensations of thick, warm,
drifting, snow.
In The Eyes
of the Skin the author Juhani Pallasmaa
discusses this shift away from a primordial oral culture and how it neglects our
unconscious relationship and response to space, ‘Vision separates us from the
world whereas the other senses unite us with it’.7 He continues that
our encounters with place and our ‘being-in-the-world’8 is how many artists express
observations through an engagement with pre-verbal meanings.
Pallasmaa quotes Maurice Merleau-Ponty describing his ‘osmotic relation between the
self and the world’9. ‘I perceive in a total way with my whole
being: I grasp a unique structure of the thing, a unique way of being, which
speaks to all my senses at once’.10
Yve-Alain
Bois quoted in Iconoclast ‘One must learn to ‘visualise clearly’ to
see only the relations that link things together and to the world as a whole,
so as, eventually, “to recreate” abstractly the same type of relations’ 11
FIG
10 Dune 1 1909 Oil on canvas
Mondrian Pier and Ocean
The artist
Piet Mondrian concerned with the relationship of perception, space rhythm and
movement worked on a series of drawings in Domberg while in isolation during
the war 1914 and 1915, where his ideas were in transition during this period.12
He studied
the movement of ocean on the shore with its eternal and rhythmic balance, five
years earlier in 1909-10. Here his Dune paintings; empty of all signs of man,
flowed uninterrupted horizontally across and off the sides of the canvas; the
movement appearing endless and eternal without signs of human presence. The
high central area of focus and symmetry of brush strokes implies ‘a vanishing
point to evoke the enormous space of the sea and sky’ writes John Milner Mondrian 1992.13 Mondrian worked continuously
observing the shifting mass of sea or shore, always searching for simpler ways
to explain the visual rhythms that concern him and remaining interested in what
these observation could reveal about the real world and painting.14
He further
simplified the motion and rhythm of the sea, in summer 1912, when briefly in
Domberg again, this time removing the stabilizing effect of the foreground.
FIG
11 The Sea 1912 oil on canvas
Here the
structure with the horizon at rest is without any
opposition but as he continually returns to observe the sea at Domberg, he
develops the Pier and Ocean drawings with a new awareness. In emphasising the
intensity of vertical lines the horizontal becomes accentuated and Mondrian
achieves an absolute equilibrium.15
Mondrian
continued to explore methods of composition in his Pier and Ocean drawings in
1914. According to Milner several
elements could be explained by current thinking at the time. He describes how
the oval or the square divided by a cross could be associated with Theosophist symbolism or Cubism; the ellipse can be read as a
circle in perspective; the spacing of horizontal lines indicate distance; the
foreground is moving towards the viewer as the central pier structure is shown
cleverly retreating back into the sea. However, all of these close observations
are also discovered through immense concentration by Mondrian directly at the
scene.16
He reworked
the ‘ocean’ series of drawings of ’a rolling sea with a very high horizon’ 17
many times as he continued to search for visual balance. Mies
Elout-Drabble watched him work over a small sketch for many days:
“On a walk
beside the ocean, late evening, under a radiant, starry sky, he took a tiny sketchbook
out of his pocket and made a scribbled drawing of a starry night” describes
Mies Elout-Drabble. 18
Mondrian
was an observer of life says John Milner in his introduction, driven ‘to discern
an underlying structure in the world and to indicate this, as a mathematician
might by means of the fewest, clearest elements available’.19 Working from what he sees, his experiences of what he
is surrounded by; he makes visible in the painting for the viewer to
experience.
‘Observing
sea, sky and stars, I sought to indicate their plastic function through a
multiplicity of crossing verticals and horizontals’ quoted J. Joosten in Abstraction and compositional Innovation,
he continues ‘...impressed by the vastness of nature, I was trying to express
its expansion rest and unity’.20
The many
small lines and crossings create a visual rhythm where neither the horizontal
or vertical lines dominate. The image itself is totally flat, loosening at the
edges but held in place by a visual tension across the surface. The opposition
of lines create continual movement as your eye wanders around they appear to
shift and flow; to swell and expand; into a massive space. The line no longer
depicts something else; symbolism or art technique; image and structure have
become equal, ‘visually the work shifts and
pulsates before the eye like a living organism. It breathes’. 21
Mondrian
considered Composition 10 in Black and White, an important painting,22
recreating in the mind of the viewer, a vast and peaceful space that gently
swells with the rhythm of the tides.
Space and place
Mondrian
created his paintings from intense observation and direct experiences of his surroundings throughout
his life. His drawings and paintings provide those experiences for each
individual viewer via their own specific and identifiable references to place.
I watch ‘Time Team’ walking the Ridgeway on the
Jurassic coast, looking for a clearer understanding of the realities of early life here. They walk, think, feel the
experience of living on the Ridgeway; using a method not normally addressed by
traditional archaeologists. Phenomenological archaeological fieldwork examines the sensory
experience of landscape and is concerned with the past everyday experience of
living in a domestic context. Sue Hamilton explains that Phenomenology
could be considered `subjective'
and `unscientific' but ‘our particular approach might be used to further
understandings of past lives’. 23
In Space and
Place Yi-Fi Tuan questions the ‘experiential perspective’ and the ‘nature of
experience’.24 We gain the ability to identify and recognise a place
through mental and physical experience of being there, attaching individual
meaning or creating shared cultural traits. Studying a place indirectly creates
a more ambiguous understanding but can still have significance and acquire
stability in their mind enabling a response.
The idea of
‘space is more abstract than place’ 25, undifferentiated
space accesses thoughts of openness, freedom, and the possibility of threat.
Knowledge and experience creates place ‘if we think of space as that which allows movement, then place is pause; each pause in movement makes it possible for location to be transformed into place’.26
Knowledge and experience creates place ‘if we think of space as that which allows movement, then place is pause; each pause in movement makes it possible for location to be transformed into place’.26
Vast
The word
‘vast’ replaces any specific space but retains the physical experience of it;
‘vast’ describes a mind image, attaching references of knowledge, culture and
recognition of experiences. A visually impaired reader also recalls their
response because according to Baudelaire vast evokes all imagined properties at
once and contains all reference of experience for an immediate connection.27
In my early years only close detail explained what I saw, undiagnosed severe
myopia denied a distant space. Gaston Bachelard has considered Baudelaire’s use
of the word ‘vast’ at length in The Poetics of Space 28. Noticing how he uses it frequently to add
grandeur in a statement, it ‘contains a complex of images that deepen one
another’.29 or used like a breath to give infinite calm in the
reader’s thoughts. ‘Vast’ can create a pause in the text.
Here and There
This notion
of vastness, the vastness of an
ocean or space is perceived as a whole and not seen directly. Linked to our memory of auditory space and freedom of
movement; our senses expand and enlarge spatial awareness allowing an endless
expanse of space, implying distance. Location, direction, distance relate to
man, gaining importance through their accessibility. As I look ‘out there’ 30
a distance is introduced, I am here, they, are over there, this is here and
‘that’ in conversation indicates a remote topic. We judge distance in relation
to ourselves, learning how far is a stone’s throw, or in shouting distance and
the length of time a day’s journey takes?
Walking
from A-B contains both past and future, each step is directional but the future
goal also gives time a direction, it looks ahead.
Slowly
walking up Cader Idris, an American dad and his children comes striding past,
chanting a US Marine song, we follow along, surprised at how much easier it makes
getting to the top. The rhythmic sounds can negate our awareness of time and
effort as the body movement synchronises with the sound, ‘cancelling a sense of
purposeful action‘31 and location
loses its relevance, here to there time becomes hidden in the rhythm.
Serra drawing space and the body
The
experience of walking and looking transformed the sculpture and drawings of
Richard Serra. A visit to the Japanese Zen gardens in Kyoto, 1970 connected with
his thoughts on sculpture and reinforced his understanding and concerns of
space and the body. Here he discovered the fluid design, lacking a fixed
vantage point altered the way the viewer gathered visual information while
moving through the pathways. This constantly changing and temporal vision is understood
as being peripatetic in Zen Gardens; they are not expected to be seen
traditionally as a single framed scene.
As in his sculptures
Serra requires his drawings to shift a viewer’s physical and visual perception
of the space they inhabit, making their presence felt, in the ‘here and now’.32
These large
drawings do not represent another place but are made using a non-referential
language, they speak for themselves.
Making,
thinking and looking explains Serra’s
process of drawing, concerned with a sense of how space functions; he explores
a physical tension between parts. An awareness of gravity remains evident in the
weight of suspended forms pushed together. The light absorbing pigment and black
grainy texture emphasises their density and connects them to the space where the
direct experience and material richness of the drawings develop their own importance.
‘blackness is a property not a quality’.33
In his
large round drawings Serra is exploring a sense of touch, exposing the imperfections of a moving arm, residue
remains as form and matter. Negating the pictorial traditions of representation,
the contemporary dialogue between figure and ground is eliminated and pushes
the drawing into actual space; like wallpaper it becomes about the space it
inhabits.
FIG 15 Installation view Richard Serra Drawing: A retrospective, 2011. Courtesy of SFMOMA
Photo: Ian Reeves
FIG 16 Serra’s out of round 1999, Paintstick on Hiromi paper
Fluidity
On entering
The Courtauld Gallery to see the exhibition, Mondrian and Nicholson in
Parallel; I notice a group of singers quietly setting up in corners throughout
the exhibition, preparing for a one off performance. I’m handed a flyer,
Extraordinary Voices Experimental vocal music by John Cage and Christopher Fox,
I wonder how the sounds will affect the space between the paintings of the two
friends? As the gallery fills with unusual sound and I
quietly wind my way through the crowd, musical rhythms emphasise
differences in my response to the two painters.
Nicholson has
set up a calm space, my eye flows around the surface with gentle
interruptions of depth or colour that radiates outwards, towards the centre or
in circular movement.
Mondrian’s
flat surfaces appear to possess movement contained as a rhythm within the whole.
Christopher Green describes this in the exhibition catalogue as ‘The pulse of
movement experienced not in space but in time’.34 Mondrian opens up the centre of the
painting by shifting colour towards the edges and threatening stability. Yves-Alain
Bois in The Iconoclast sees this as ‘always
on the point of being “undone” even when finished’.35
Both
artists were concerned with the idea of painting as a flat art and the viewer’s
responses to surface and rhythm. In
Mondrian’s paintings forms and
colours have different dimensions and positions but as they are all equal in
value, colour plane, non-colour plane, vertical and horizontal line; they compete
on the flat surface and no one force is allowed to dominate.36
Conclusion
I have
rambled along making good progress, looking, noticing, thinking and uncovering
interesting connections from artists and writers.
Investigating
place and memory I noticed how Mondrian’s ability to ‘visualise clearly’
connects his earlier work on Pier and Ocean to his unfinished painting as a
consequence of his intense observation throughout his lifetime. ‘One must learn
to see only the relations that link things together and to the world as a
whole, so as, eventually, “to recreate” abstractly the same type of relations’.37
Towards the
end of his life Mondrian
returned to New York, influenced by this move to the city his work continued to
transform as he struggled to abolish the line as form. In 1942 he started his
last painting Victory Boogie Woogie, and still dissatisfied, he states, ‘but
even about this picture I am not quite satisfied. There is still too much of
the old in it’.38 When asked by his friend Carl Holty why he often destroyed everything from the night
before, Mondrian revealed his lifelong motivation ‘I
don’t want pictures. I just want to find things out.’ 39
Mondrian’s ‘abstract-real’ 40
paintings are a result of sensory stimuli encoded in the
artist’s memory. In drawing; marks or gesture evoke recognition, connecting to a
viewer’s individual sensory recall, enabling discovery and explanation of properties,
volume, mark, surface, rhythm … space or object; all inform the viewer of its
position to the world.
FIG 20 Contained
landscape with curved horizon 2012 Jill Evans
As we navigate our world
throughout our everyday experiences, we notice and unconsciously store a residue of differences, differences that consist of the smallest molecule
of information. This residue of differences; my rationale (to expose through
drawing); is activated in the viewer, connecting thoughts, allowing
recollection, uncovering ideas that create understanding and meaning in art -
traditional, abstract or conceptual.
Notes
1.
Helen Langdon, Claude Lorraine, Guild publishing London 1989. p.9
2.
In
Turner’s Footsteps, Through the hills and dales of Northern England David
Hill 1984 Guild publishers Ltd London p.12 - found book in Oxfam
3.
Sailor Stone, National trust viewed 29/12/12
http://www.nationaltrust.org.uk/history/view-page/item633510/253985/
In 1786 a sailor was brutally murdered by three men which he had befriended (in a local pub in Thursley) whilst walking from London to the docks in Portsmouth. Soon after the murder a stone was erected to mark the spot where the poor sailor met his death. The bodies of three men were hung on Gibbet hill.
http://www.nationaltrust.org.uk/history/view-page/item633510/253985/
In 1786 a sailor was brutally murdered by three men which he had befriended (in a local pub in Thursley) whilst walking from London to the docks in Portsmouth. Soon after the murder a stone was erected to mark the spot where the poor sailor met his death. The bodies of three men were hung on Gibbet hill.
4.
Juhani Pallasmaa 2005. The Eyes of the Skin p.16
5.
Pallasmaa 2005 p.15 - 16
6.
Druids BBC Radio 4 20.9.2012 Melvyn Bragg
7.
Pallasmaa 2005 p.25
8.
Pallasmaa 2005 p.26
9.
Pallasmaa 2005 p.20-21
10.
Pallasmaa 2005 p.20-21
11.
Yve-Alain Bois, The Iconoclast in Yve-Alain Bois and Joop Joosten, 1994.
Piet Mondrian. New York: Bulfinch Press p.318
Piet Mondrian. New York: Bulfinch Press p.318
12.
Mondrian, John Milner 1992 Phaidon Press
Ltd p.118
13.
Milner 1992 p.72
14.
Milner 1992 p.71-80
15. Bois
and Joosten 1994 p.338
16.
Bois and Joosten 1994 p.125
17.
Bois and Joosten 1994 p.167
18.
Bois and Joosten 1994 p.162
19.
Milner 1992 p.6-7
20.
Milner 1992 p.120 quote in Joosten Abstraction and compositional Innovation,
Artforum, Apr. 1973 p.55
21.
Milner 1992 p.125
22.
Bois and Joosten 1994 p.169
23.
Sue Hamilton 2006. Phenomenology in Practice: Towards a Methodology for a ‘Subjective’
Approach. London: University College.
24.
Tuan, Yi-Fi, 1977. Space and Place. Minneapolis and London:
University of Minnesota Press p.7
University of Minnesota Press p.7
25.
Tuan 1977 p.6
26.
Tuan 1977 p.6
27.
Bachelard, Gaston, 1958. The Poetics Of Space. Edition 1994.
Boston Massachusetts: Beacon Press. Foreward by John R. Stilgoe. p.196
28.
Bachelard 1958 in chapter 8
29.
Bachelard 1958 p.193
30.
Tuan 1977 p.47
31.
Tuan 1977 p.128
32.
Rose, Bernice and White, Michelle, and
Garrels, Gary, 2011, Richard Serra
Drawing a Retrospective (Menil Collection) New York: Metropolitan Museum of
Art. p.14
33.
Rose and White 2011 p.24 quoted in Borden
About Drawing an interview, p.77
34.
Green, Christopher, and Wright, Barnaby,
2012. Mondrian and Nicholson in Parallel. London: Courtauld Gallery p.31
35.
Bois and Joosten 1994 p.339
36.
Green and Wright 2012 p.20
37.
Bois and Joosten 1994 quoted in The Iconoclast p.318
38.
Bois and Joosten 1994 p.293
39.
Bois and Joosten 1994 quoted in The Iconoclast p.316
40.
Bois and Joosten 1994 quoted in The Iconoclast p.318
Images
FIG I Worms Head
Fig
1 Worms Head Photo P.J. Evans 2009
FIG 2 Landscape scenes in pen and wash attributed to
Claude Lorraine 1600-1682 http://www.vam.ac.uk/content/articles/d/drawing-techniques-claude-glass
FIG 3 From the bank of a river,
watercolour by Reverend
William Gilpin1724-1804 Victoria and Albert Museum http://www.vam.ac.uk/content/articles/d/drawing-techniques-claude-glass
watercolour by Reverend
William Gilpin1724-1804 Victoria and Albert Museum http://www.vam.ac.uk/content/articles/d/drawing-techniques-claude-glass
FIG 4 Claude Glass manufactured in England, 18th
Century Victoria and Albert Museum http://www.vam.ac.uk/content/articles/d/drawing-techniques-claude-glass
FIG 5 Joseph
Mallord William Turner, Hindhead Hill 1811, view of
Gibbet Hill. Tate Gallery http://www.tate.org.uk/art/artworks/turner-hindhead-hill-a00960
FIG 6 Sailor Stone Hindhead
- photo Jill Evans 2012
FIG 7 Devils cauldron view
from Gibbet Hill, Hindhead Jill Evans 2012
FIG 8 Druids Grove Ancient Yew Tree - photo P.J. Evans
2012
FIG Dune 10 1909 Oil on canvas p.74, Milner, John,
1992. Mondrian. New York: Phaidon
Press Ltd.
FIG 11 The Sea 1912 oil on canvas p.123, Yve-Alain, and
Joosten, Joop, 1994. Piet Mondrian.
New York: Bulfinch Press.
FIG 12 Pier and Ocean 3 1914 Charcoal on paper p.163, Yve-Alain,
and Joosten, Joop, 1994. Piet Mondrian.
New York: Bulfinch Press.
FIG 13 Composition 10 in Black and White 1915 Oil on
Canvas p.169, Yve-Alain, and Joosten, Joop, 1994. Piet Mondrian. New York: Bulfinch Press.
FIG 14 Cader Idris Photo P.J. Evans 2010
FIG 15 Installation view Richard Serra Drawing: A
retrospective, 2011. Courtesy of SFMOMA
Photo: Ian Reeves
http://www.artpractical.com/review/richard_serra_drawing_ viewed 29/12/12
Photo: Ian Reeves
http://www.artpractical.com/review/richard_serra_drawing_ viewed 29/12/12
FIG 16 Serra’s out of round 1999, Paintstick on Hiromi
paper http://www.metmuseum.org/exhibitions
FIG 17 Ben Nicholson untitled 1937 Oil on canvas p.131,
Green, Christopher, and Wright, Barnaby, 2012. Mondrian and Nicholson in
Parallel. London: Courtauld Gallery.
FIG 18 Piet Mondrian Composition with Yellow and Blue
1932 Oil on canvas p.93,
Green,
Christopher, and Wright, Barnaby, 2012. Mondrian and Nicholson in Parallel.
London: Courtauld Gallery.
FIG 19 Victory Boogie Woogie (unfinished) 1942-1944 Oil
and paper on canvas p.296, Yve-Alain, and Joosten, Joop, 1994. Piet Mondrian. New York: Bulfinch Press.
FIG 20 Contained
landscape with curved horizon 2012 Jill Evans Ink on Paper cups.
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http://www.nationaltrust.org.uk/history/view-page/item633510/253985/
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Wandering through the summer 2012
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