Comments on: Circulation of the Body & Soul http://alisonjardine.com/2009/06/circulation-of-the-body-soul/ An English artist living in Texas Tue, 10 Aug 2010 02:30:55 +0000 hourly 1 http://wordpress.org/?v=3.0 By: 0whole1 http://alisonjardine.com/2009/06/circulation-of-the-body-soul/comment-page-1/#comment-24 0whole1 Wed, 10 Jun 2009 03:20:25 +0000 http://alisonjardine.com/?p=288#comment-24 > On a single canvas, is it possible? Anything's possible. Think on how comics, graffiti, and tattoos deal with time -- the difference between time and space blurs. The action in a single comic panel can encompass any stretch of time, as one moves right to left. Or, you can play with the unspoken comic rules of time by depicting a charcter climbing out of his current frame and into one in the future (further down the page) or the past (back up the page). You could mimic the Australian Aborigine's concept of time (further away in space == further back in history) by fooling with perspective: small things == stuff in the distance == stuff in the past. Or you could have a blur of things -- images piled on top of each other -- to indicate a thing's travel through a stretch of time sort of smooshed into the singularity of the canvas like a bug on a windshield. All that and more. :) > On a single canvas, is it possible?

Anything’s possible. Think on how comics, graffiti, and tattoos deal with time — the difference between time and space blurs. The action in a single comic panel can encompass any stretch of time, as one moves right to left. Or, you can play with the unspoken comic rules of time by depicting a charcter climbing out of his current frame and into one in the future (further down the page) or the past (back up the page). You could mimic the Australian Aborigine’s concept of time (further away in space == further back in history) by fooling with perspective: small things == stuff in the distance == stuff in the past. Or you could have a blur of things — images piled on top of each other — to indicate a thing’s travel through a stretch of time sort of smooshed into the singularity of the canvas like a bug on a windshield.

All that and more. :)

]]> By: Alison http://alisonjardine.com/2009/06/circulation-of-the-body-soul/comment-page-1/#comment-22 Alison Tue, 09 Jun 2009 12:36:09 +0000 http://alisonjardine.com/?p=288#comment-22 Interesting thoughts ~ the suggestion of capturing a full day's passage of movement is intriguing, and would be quite beautiful. On a single canvas, is it possible? I plan to capture many different light-styles and colors over the next paintings. My next one will be purples golds and yellows ~ they were on a fringe of trees in the far North of Texas, alongside a private ranch, and immediately reminded me of Klimt. I have in my minds eye inky purple-greys... Interesting thoughts ~ the suggestion of capturing a full day’s passage of movement is intriguing, and would be quite beautiful. On a single canvas, is it possible? I plan to capture many different light-styles and colors over the next paintings. My next one will be purples golds and yellows ~ they were on a fringe of trees in the far North of Texas, alongside a private ranch, and immediately reminded me of Klimt. I have in my minds eye inky purple-greys…

]]> By: 0whole1 http://alisonjardine.com/2009/06/circulation-of-the-body-soul/comment-page-1/#comment-21 0whole1 Mon, 08 Jun 2009 21:52:16 +0000 http://alisonjardine.com/?p=288#comment-21 Seems like the Mondrian piece uses squares to portray time in a single dimension -- like cars on a road or people on a moving sidewalk -- whereas you piece involves two dimensions -- the whole square of the canvas -- and implies movement in 3 -- the whole of the actual 3d tree. Of course the time dimension in your piece seems to be of a limited duration -- leaves fluttering during a few moments -- as opposed to the changing light over an afternoon or the changing tree over a year. Maybe those are better addressed over a series? Seems like the Mondrian piece uses squares to portray time in a single dimension — like cars on a road or people on a moving sidewalk — whereas you piece involves two dimensions — the whole square of the canvas — and implies movement in 3 — the whole of the actual 3d tree.

Of course the time dimension in your piece seems to be of a limited duration — leaves fluttering during a few moments — as opposed to the changing light over an afternoon or the changing tree over a year. Maybe those are better addressed over a series?

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