Hi Susie,
Berlin sounds amazing, I haven't had the chance to go yet but it sounds like an incredible city in terms of the arts and cultural richness, it also sounds much more open minded in terms of spontaneity and freedom of artistic expression than councils and the government seem to endorse generally here.
Also really liking those photos, some really interesting possibilities there - I especially like the way the photographic piece works in the wide open space, it kind of pulls you in even more to the center of the image because the stark contrast creates more focus on it.
It is interesting what you said about the geometric similarities to my work and your logo, as those drawings in particular I developed through a series of drawings based on sections of crystalline forms, breaking them down so they gradually became a more minimal version of the original natural form. For the past few years though, most of my structural and illustrative works have been derived from geodesic patterns as they represent the connections between light patterns and a broader plain of space and time outwith the installations themselves, (Visible evidence for the curving of space can be gleamed from the behavior of light under the influence of gravity, which Einstein concluded would travel in geodesic lines. - Gavin Parkinson, Surrealism Art and Modern Science) or other naturally geometric derivatives such as the golden ratio and golden section dimensions and the balance/geometry apparent in all natural systems. However I think it is important that while our work complements each other obviously it would create more of an interesting dynamic if they were not too similar.
I have been thinking more about how they would merge into natural surroundings, or in the case of the more baron spots, how they might seem to be emerging from a more industrial space in a way that compliments the sculptures environs but subtly brings more natural elements into focus. I now plan to return to one of my original ideas of geometric pyramids similar to my 2010 pieces Panacea and Interstitial Geographies (Where I End and You Begin), pictured below, covered entirely in plant life. Their forms would compliment the structural and stark surroundings of the derelict areas or concrete footpaths in the suggested areas for the exhibit and bring more organic attributes to the space. I have also considered constructing concrete plinths with perspex prism formations emerging or intersecting their hollow structures creating light chambers alluding to broader contexts outwith their urban surrounds but taking time restraints into consideration this may have to become a project for a future date.
Berlin sounds amazing, I haven't had the chance to go yet but it sounds like an incredible city in terms of the arts and cultural richness, it also sounds much more open minded in terms of spontaneity and freedom of artistic expression than councils and the government seem to endorse generally here.
Also really liking those photos, some really interesting possibilities there - I especially like the way the photographic piece works in the wide open space, it kind of pulls you in even more to the center of the image because the stark contrast creates more focus on it.
It is interesting what you said about the geometric similarities to my work and your logo, as those drawings in particular I developed through a series of drawings based on sections of crystalline forms, breaking them down so they gradually became a more minimal version of the original natural form. For the past few years though, most of my structural and illustrative works have been derived from geodesic patterns as they represent the connections between light patterns and a broader plain of space and time outwith the installations themselves, (Visible evidence for the curving of space can be gleamed from the behavior of light under the influence of gravity, which Einstein concluded would travel in geodesic lines. - Gavin Parkinson, Surrealism Art and Modern Science) or other naturally geometric derivatives such as the golden ratio and golden section dimensions and the balance/geometry apparent in all natural systems. However I think it is important that while our work complements each other obviously it would create more of an interesting dynamic if they were not too similar.
I have been thinking more about how they would merge into natural surroundings, or in the case of the more baron spots, how they might seem to be emerging from a more industrial space in a way that compliments the sculptures environs but subtly brings more natural elements into focus. I now plan to return to one of my original ideas of geometric pyramids similar to my 2010 pieces Panacea and Interstitial Geographies (Where I End and You Begin), pictured below, covered entirely in plant life. Their forms would compliment the structural and stark surroundings of the derelict areas or concrete footpaths in the suggested areas for the exhibit and bring more organic attributes to the space. I have also considered constructing concrete plinths with perspex prism formations emerging or intersecting their hollow structures creating light chambers alluding to broader contexts outwith their urban surrounds but taking time restraints into consideration this may have to become a project for a future date.
If we are not necessarily constructing site specific pieces we should consider how our work will sit alongside each other, or perhaps it might be more natural to come up with this arrangement in the space once we are there? You asked about installation dates, if the exhibits are going to be open to the press by the 17th of April we could install the week beforehand or could perhaps get into the GSS (Glasgow Sculpture Studios) to make a collaborative piece as a response to the space we settle on the week before or figure out dates we could both make it to Glasgow earlier than that?
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