Antoni Tapies describes the walls in his paintings as 'fundamentally a form of artistic organization.' (Tapies, 1970). He traces the source of his awareness of walls and their evocative power to his adolescence spent mainly shut in within walls during the Spanish Civil War, and recognises that his early works of 1945 'have an air of street graffiti and of an entire world of protest - repressed, clandestine, but also full of life.' (Tapies, 1970) 'How many suggestions can be derived from the image of the wall and all its possible permutations! Separation, cloistering, the wailing wall, prison, witness to the passing of time: smooth surfaces, serene and white; tortured surfaces, old and decrepit; signs of human imprints, objects, natural elements; a sense of struggle, of effort; of destruction, cataclysm; or of construction, reemergence, equilibrium; traces of love, pain, disgust, disorder; the romantic prestige of ruins; the contribution of organic elements, forms...
Really useful exercise to hang my work in the project space and gain valuable feedback from peers and tutors. Although these drawings with freestyle machine stitch and stenciled spray paint on flour bags are only in the early stages it has helped me to know how best to proceed with them. These were developed to hang together and I was pleased with the way they worked, although due to poor lighting, I wasn't able to get a better quality photo. There's more to be added to this installation but I'm keeping that as a surprise for the degree show! These digital images printed on aluminium also sat well with the rest of the installation and Ruth's work (not shown).
Click to view my n ew photobook It's a mixture of shots from Lanzarote that have informed my work over the past few years, along with some more recent images from Berlin and Crete. Best to view the slide show in full screen mode and please ignore the sales pitch incorporated by Photobox
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