Picturing Movement, (2014) UM, (2014) From the Land, (2014) Naked Beauty, (2014) Arcadian Library, (2014)

Titmarsh, M

Picturing Movement, (2014) UM, (2014) From the Land, (2014) Naked Beauty, (2014) Arcadian Library, (2014)

Titmarsh, M

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Publisher:: Airspace Projects
Publication Type:: Exhibition
Citation:: In Motion

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Field	Value	Language
dc.contributor.author	Titmarsh, M https://orcid.org/0000-0002-1033-3867	en_US
dc.date	2014-11-07	en_US
dc.identifier.citation	In Motion	en_US
dc.identifier.isbn	978-0-9925896-0-8	en_US
dc.identifier.uri	http://hdl.handle.net/10453/33456
dc.identifier.uri	http://hdl.handle.net/10453/33455
dc.identifier.uri	http://hdl.handle.net/10453/33457
dc.format	Painting	en_US
dc.publisher	Airspace Projects	en_US
dc.relation.ispartof	In Motion	en_US
dc.title	Picturing Movement, (2014) UM, (2014) From the Land, (2014) Naked Beauty, (2014) Arcadian Library, (2014)	en_US
dc.type	Exhibition
utslib.location	Airspace Projects Gallery	en_US
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	true	en_US
pubs.finish-date	2014-11-22	en_US
pubs.place-of-publication	Airspace Projects Gallery	en_US
pubs.start-date	2014-11-07	en_US
pubs.rights-statement	These works are all spirograph pattens painted on dustjackets of books. The spirograph creates forms that are paradoxically somewhere between geometric and biomorphic. They are geometric because all the shapes are made mechanically by a device that can only produce regular and repetitious curves like those mass produced in an industrial context. They are biomorphic in that all the curved shapes resemble the natural fluid forms found in nature, as in the concentricity of flowers, the Fibonacci spiral of shells, fractals of snowflakes, iterations of leaves, vorticity of clouds, oscillations of waves, foaming of surf, tessellation of crystals, crazing of dried paint, and the camouflage of wildlife. It was the sight of dazzle camouflage painted on the side of WW1 weaponry that inspired Picasso to say, that he and other avant garde artists had invented the look since it was essentially cubist. Dazzle camouflage, unlike other camouflage that blends in to the background, did not attempt to conceal but to be confuse, making it difficult for the enemy to know what they were looking it, where it was exactly and whether it was moving or vibrating on the spot. The spirographic overlay on the dustjacket of a book is a way of dazzling and fragmenting the strict graphic rules of book design and typography. It interrupts the flow of information, partially obscuring what lies beneath, leaving only traces of half words and displaced images. The play of paint inside the spirograph uses the structure and pattern of elliptical overlappings as an opportunity for a display of colour similar to a colour wheel tipped off balance and spread out beyond its scientific boundaries.	en_US

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