| Field |
Value |
Language |
|
dc.contributor.author |
Bowman, CP |
en_US |
|
dc.contributor.editor |
Nicky Ginsbery |
en_US |
|
dc.date |
2013-12-05 |
en_US |
|
dc.identifier.citation |
Notations: Disturbance and Stasis - one man exhibition |
en_US |
|
dc.identifier.uri |
http://hdl.handle.net/10453/32641
|
|
|
dc.description.abstract |
This exhibition featured a large selection of photographs, drawings and sketchbooks that investigates exploratory and organic modes of representation. The works demonstrate how I use mark making to explore a metaphorical and symbolic visual language of abstraction that defines spatial dynamics and temporal layering of movement, time and space. These explorations into a visual language of abstraction were conceptualised through the development of unique systems of graphic representation of movement. Also through abstraction in the moving image through signs and symbols analogous with musical and dance notations. The landscape photographs are from my collection of original photographs taken when I document a site of investigation such as the peat bogs of Wales or the Snowy Mountains of Australia. These photographic documentations accompany the sketch books that are drawn on the site at which the photographs have been taken. This exhibition represents a major demonstration of one part of my creative output over the past 5 years. |
en_US |
|
dc.format |
Drawings and photographs |
en_US |
|
dc.publisher |
NG Gallery |
en_US |
|
dc.relation.ispartof |
Notations: Disturbance and Stasis - one man exhibition |
en_US |
|
dc.title |
Notations: Disturbance and Stasis |
en_US |
|
dc.type |
Exhibition |
|
|
utslib.location |
NG Pop-up Gallery, Central Park, Broadway, Sydney |
en_US |
|
utslib.location.activity |
http://www.artshub.com.au/whats-on/sydney/visual-art-and-exhibitions/design-notations-disturbance-an
|
en_US |
|
utslib.for |
1203 Design Practice and Management |
en_US |
|
dc.location.activity |
http://www.artshub.com.au/whats-on/sydney/visual-art-and-exhibitions/design-notations-disturbance-an
|
|
|
pubs.embargo.period |
Not known |
en_US |
|
pubs.organisational-group |
/University of Technology Sydney |
|
|
pubs.organisational-group |
/University of Technology Sydney/Faculty of Design, Architecture and Building |
|
|
pubs.organisational-group |
/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design |
|
|
utslib.copyright.status |
open_access |
|
|
pubs.consider-herdc |
false |
en_US |
|
pubs.place-of-publication |
NG Pop-up Gallery, Central Park, Broadway, Sydney |
en_US |
|
pubs.start-date |
2013-12-05 |
en_US |
|
pubs.rights-statement |
Current trends in the conceptualisation and visualisation of expanded forms of animation for screen based installations re-establish the need for new ways in which drawing plays an essential role (both digital and analogue) in the exploration and the representation of abstraction and life in motion. While the significance of these trends is acknowledged, the need to develop more exploratory modes of representation remains. Like the early pioneers of experimental film, Viking Eggeling, Hans Richter, Walter Ruttmann and Oskar Fischinger, I use drawing to explore a metaphorical and symbolic visual language of abstraction that defines spatial dynamics and temporal layering of movement, time and space [Le Grice, 1979]. Their explorations into a visual language of abstraction were conceptualised through the development of unique systems of graphic representation of movement. These systems investigated abstraction in the moving image through signs and symbols analogous with musical and dance notations. Further, this body of work explores the process of drawing in relation to an investigation of ‘The Manifold’, a multi-dimensional practice-led research methodology that I use to inform and create installation media that features cinematic (including animated) content for gallery or public space environments. The activity of making that exists in the Manifold can, to some extent, be likened to Schön’s ideas on ‘reflection-in-action’ [Candy and Edmonds, 2002] where the exchange between the ‘known’ (the creative practice familiar to the artist) and the ‘unknown’ (the research undertaken by the artist using new techniques or processes to define new ways of making) is in a constant state of flux or fluid action and interaction. |
en_US |
