Marion Piper, Out Side ll, acrylic and pencil on canvas, 2014.
Drawing is different. I cannot describe it clearly yet. The setting of rules, or 'minimum moves', seems to have released me into an activity which has become a 'situation' of drawing, a holding back which is enabling less to achieve more. The event is happening from within the drawing rather than being imposed from outside. I have worked in a serial way before but now the decisions and rhythms are flowing intuitively from the drawing, they may not appear any different to the observer but I recognise the shift as a good one. The familiar lines and forms are at hand and still affective.
Marion Piper, High Wycombe, 2014.
For every project is a contexture of images and thoughts that suppose a grasp of reality. We need not consider it, consequently, in a doctrine of pure imagination. It is even useless to continue an image or maintain it. All we wait for is for it to exist.'
Gaston Bachelard, The Poetics of Space, (The dialectics of outside and inside. P. 225)
Gaston Bachelard, The Poetics of Space, (The dialectics of outside and inside. P. 225)
Marion Piper, Note book, 2013.
Marion Piper, In Side ll, acrylic and oil on canvas, 30 x 30 cms, 2014.
Space and shape, and time. A long look.
I have spent two lengthy sessions in Fiona Banner's selection of works from the V-A-C collection at Whitechapel Gallery. The installation of paintings and photographs require time especially with Banner's staging. The changing light levels and the CMYK light that floods the room, change the viewing, the action of the works, I have looked at each piece throughout the lighting cycle, the proposition, although it has a sideshow appeal, is demanding and compelling.
'Rather than conventional gallery lighting, Banner instead uses coloured light which flows gently through Cyan, Magenta, Yellow and Black in a direct reference to the CMYK system commonly used for printing images. She says, ‘I want to make a theatre for the works to act in. It is a play on the act of looking, on our perception. The works that I was drawn to are self reflective, they challenge their own medium: paintings that discuss themselves as reproduction; photographs that deny the image or perform some kind of act of self portraiture; sculpture that declares the impossibility of its own authenticity.'
http://www.whitechapelgallery.org/exhibitions/fiona-banner-selects-v-c-collection/
I have spent two lengthy sessions in Fiona Banner's selection of works from the V-A-C collection at Whitechapel Gallery. The installation of paintings and photographs require time especially with Banner's staging. The changing light levels and the CMYK light that floods the room, change the viewing, the action of the works, I have looked at each piece throughout the lighting cycle, the proposition, although it has a sideshow appeal, is demanding and compelling.
'Rather than conventional gallery lighting, Banner instead uses coloured light which flows gently through Cyan, Magenta, Yellow and Black in a direct reference to the CMYK system commonly used for printing images. She says, ‘I want to make a theatre for the works to act in. It is a play on the act of looking, on our perception. The works that I was drawn to are self reflective, they challenge their own medium: paintings that discuss themselves as reproduction; photographs that deny the image or perform some kind of act of self portraiture; sculpture that declares the impossibility of its own authenticity.'
http://www.whitechapelgallery.org/exhibitions/fiona-banner-selects-v-c-collection/
Marion Piper, View from Pluspace Gallery, Coventry, 2014.
Photography Stephen White, http://www.whitechapelgallery.org/exhibitions/fiona-banner-selects-v-c-collection/
Kerze 1982 © Gerhard Richter 2014. Image courtesy V-A-C collection http://www.whitechapelgallery.org/exhibitions/fiona-banner-selects-v-c-collection/
A4 Black Papers January 2015 - Home studio
Bridget Riley, Stretch 1964 © Bridget Riley 2014 All rights reserved, courtesy Karsten Schubert, London. Image courtesy V-A-C collection http://www.whitechapelgallery.org/exhibitions/fiona-banner-selects-v-c-collection/
Marion Piper, A4 Black Papers, watercolour pencil on paper 1-14, January 2015.
Marion Piper, A4 Black Papers, watercolour pencil on paper, January 2015.
Marion Piper, A4 Black Papers, watercolour pencil on paper, January 2015.
Marion Piper, A4 Black Papers, watercolour pencil on paper, January 2015.
Marion Piper, A4 Black Papers, watercolour pencil on paper, January 2015.
If you are interested in applying for the next residency please read here http://resideresidency.weebly.com/apply.html
Deadline for applications is 6pm on 24th January 2015
'Was it the light of that stormy afternoon or the fortuitous loneliness of the spot, or the silence after the tumult of the streets and squares? I felt I was on the threshold of a new country whose name figured in no book and where everything we think of as belonging to the material world was by some elusive mechanism becoming, as it were, the tangible aspect of the inner world; or rather I had a feeling of suddenly slipping behind the scenes of reality and coming upon a secret, except what secret could be more futile than the one whose meaning escapes you … I was advancing not so much in space as in memory, and not so much in the memory of my own life as in the scattered recollections of a whole race of men… soon I was the only one left observing the inky clouds as they unfurled above the rooftops amid the solemn murmur of the wind…suddenly in that moment that precedes the first clap of thunder… I was taken out of myself, as it were and handed over to an invisible crowd… violent tenderness … the soul of a whole city entered the cries of the storm … listening motionless … restoring me to myself.'
Julian Green, Paris, (The Palais Royal, p.43, 1983)
Julian Green, Paris, (The Palais Royal, p.43, 1983)
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