Border effect…

Dungeness…

Pink…

Pink…

Interior…

Interior…

Welding…

Welding…

Fragment repeats…

Fragment repeats…

Mapped…

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Mapped…

Blue…

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Blue…

grey…

76 x 57 cm

Tools and cogs

photo 2 (8)Tools and cogs…

Beginnings of a new plate…

photo (13) copy

Beginnings of a new plate…

Print variation

photo-1-(3)-copy

photo-c2-(4)-copy

print variation

Plasma cut and objects

photo (7)

 

Triangles and objects…

Proofed

tartanNew proof

Ulyces Gif’s

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Ulyces Gif’s – words stitched together…

Retrieved photo of two generations…

photo_004 copy

Retrieved photo of two generations…grandmother and great-grandmother.

Geometric shapes

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Geometric shapes in a print

Spit bite

 

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Spit bite proof

New studio

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New studio

Metaphysical box print

Metaphysical box

Recycled plates turned into a new print

You’ve got to care about prints.

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Jim Dine – Alan Christea Gallery

Multi-print stages

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Multi-print stages

Metal Sketching

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Metal sketching

Movement in prints

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Movement in prints

Duo rust prints

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Duo rust prints…

Chine colle insert

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Chine colle insert

Kodak moment…

 

Kodak moment…

Etching to photo etch to deconstruct

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Etching to photo etch to deconstruct…

Ghost box

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Ghost box

White and yellow print overlays

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White and yellow print overlays

Draft

LOOP1

Multi-layers

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Multi-layers

Studio rooftop view on a cold afternoon…

 

 

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Studio rooftop view on a cold afternoon…

 

Panels

book-images

REC and the etching press

Accidental mini prints…

 


Accidental mini prints…

Getting the tension right; how to turn a series of etchings into a singular piece of work?

 

Malevich: Colour Masses in the Fourth Dimension

One artist that I have been researching quite closely has been Kasimir Malevich, with particular reference to his painting Black Square,1915. My initial interest had been related to his abstract work coming under Suprematism. What interested me at first were his use of titles, often referring to pictorial imagery – Red Square: painterly realism of a peasant woman in two dimensions. With further research I had found that his involvement with the Trans-rationalist Poets from 1910, working with illogical word combination had led him to arrive at a visual abstract equivalent to these word games, involving sliced colour planes and titles often referring to representational images. A friend forwarded me an article by Stephen Lueckig, in the Journal of Mathematics and Art (2010), A Man and his Square: Kasimir Malevich and the Visualisation of the Fourth Dimension.


In this article there is a suggestion that there may have been an alternative reason for Malevich’s use of titles. Firstly during 1915 Malevich, exhibited as part of a show of 14 young constructivist artists in St Petersberg 0,10: The Last Futurist Exhibition. Kasimir Malevich filled a room with 39 paintings in his new conceived style of Suprematism. What is interesting is Malevich’s use of titles and subtitles. As all the 39 paintings inhabit the same pictorial space. His chosen titles however, indicate something different. For example 5 of the paintings bore the subtitle Colour Masses in the Fourth Dimension. Then there are two paintings – Red Square: painterly realism of a peasant woman in two dimensions and Self Portrait in Two Dimensions. These two paintings also inhabit the same pictorial space as all the other paintings. Therefore through titles and subtitles Malevich entertained the notion that although his paintings visually occupy the same space as each other he is referencing some in 2D, 3D and even 4D.

0,10: The Last Futurist Exhibition. Kasimir Malevich filled a room

There has always been a question why Malevich has titled and subtitlted his paintings. This particular articles stresses Malevich’s knowledge and historical knowledge of geometry. At the time there was a renewed prominence of a nineteenth century geometrician called Nikolai Lobachevsky and his ideas of meta-geometry or what has been dubbed as ‘imaginary geometry’ and later ‘Pangeometry’. Lobachevsky asserted that any number of geometries were possible and would prove as useful as Euclidean geometry (a mathematical system attributed to the Alexandrian Greek mathematician Euclid, whose elements is the earliest known systematic discussion of geometry) with the possibility of then creating new geometric rules unknown to Euclidean geometry.

Malevich jumped onto this idea of alternate geometries and if it could bypass Euclidean geometry then lines of thought could re-route around conventional logic. Malevich attempted to translate this through painting becoming what we know now as suprematism.

To an extent the term used as part of a subtitle by Malevich – ‘Colour Masses in the Fourth Dimension’ references this idea of an alternate geometric space. This is a very brief summary of the article as it becomes gradually more involved in mathematics and geometry but I thought this diagram below proved interesting in understanding Malevich’s idea of a possible alternate geometry.

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