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DTSTART:20241026T100000Z
DTEND:20241102T180000Z
DTSTAMP:20260727T015016Z
CREATED:20240913T135200Z
LAST-MODIFIED:20240913T135200Z
UID:1404-1729936800-1730570400@cryptgallery.org
SUMMARY:The Elegance of Knots  Nancy Reid Hocking
DESCRIPTION:26 October - 2 November\nOpen daily: 10 am to 6 pm\nPrivate View 25th October     \nFor invitations please contact hocking.reid@gmail.com\n\nMystery and beauty are the central and common creative origins of art and mathematics. The complex mathematical field of Knot Theory yields some rather lovely imagery when interpreted through artist hands.  Nancy Hocking uses aspects of the theory as an exacting tool to mine for the sensuous imagery of her drawings\, photos and sculpture. Through knots and continuous deformation\, with glimpses into 4-space\, she explores the strange mysteries of this mathematical world. And all without an equation or even a number in sight!\n\nArt and mathematics are very happy in each other’s company. Nancy works closely with Professor emeritus\, University of South Alabama\, J. S. Carter to make sure that her work reflects specific aspects of knot theory accurately\n\n www.hocking.reid@gmail.com                                        \n\n 
URL:http://cryptgallery.org/event/the-elegance-of-knots-nancy-reid-hocking/
CATEGORIES:Exhibitions
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DTSTART:20241026T100000Z
DTEND:20241102T180000Z
DTSTAMP:20260727T015016Z
CREATED:20240926T133420Z
LAST-MODIFIED:20240926T133420Z
UID:1414-1729936800-1730570400@cryptgallery.org
SUMMARY:Two Ships Two Trees - Julian Wootton
DESCRIPTION:26 October  - 2  November    \n10am - 6pm\n\nPrivate View: 25 October     \nFor invitations please contact hocking.reid@gmail.com\n\n \n\nThe themes of Julian’s work derive from the sense of impermanence and instability many of us now feel. As we once constructed grand edifices expressing the certainty of our cultural beliefs\, temples\, churches\, vast factories and grand parliament buildings\, Julian’s sculptures express ambiguity\, uncertainty\, even the foreboding that underly our lives.\n\nHis influences from the art world are Surrealism and the work of Max Ernst. In particular the strange\, wholly unorthodox work defined by Bernard Dubuffet\, the French artist and critic\, as Art Brut. Without the imaginative inventions of these geniuses Julian says it would never have occurred to him to have made art out of rotten wood. With his background in archaeology and using myth and legends from antiquity\, Julian’s edifices are sculptural canvases for the narratives of now. Constructed from fired clay\, paper mâché\, rotten wood\, found plastic\, sacking\, string and metals\, his work is muscular and yet holds the vulnerability of our presence in this threatened world.\n\nJulian’s freedom and eclectic use of materials\, deeply influenced by Art Brut or Raw Art\, is parallel to the wide-ranging   use of cultural myth\, legend.\n\nThe work that I am producing is made from a variety of different  materials and combinations of different materials. The majority of pieces are made from fired clay. Of those the greater part now are painted \, after firing just once \, with acrylics. A few are glazed with bright earthen ware colours and some finished with metal oxides fired on to the surface of the clay. The finishes used depend upon the effects that I want to achieve. With acrylic it is possible to achieve quite strident effects \, with glazes at just over 1000 C  much softer more muted effects than with acrylic. With metallic  oxides much harsher effects are possible.\n\nAs well as works with fired clay I also work with papier-mache  which I’ve found as no doubt many others have too to be an extraordinary versatile and expressive material.\n\nIn  addition to fired clay and  papier-mache I also use decayed wood and wood treated in various ways\, metals in various forms added sometimes in the course of making \, or after \, plastic\,[ entire forms or I fragments] \, sacking and other cloths\, string\, and various adhesives and manufactured materials.\n\nThe themes derive from the sense that many of us now feel of impermanence of ambiguity and perhaps the sense that all of have of the instability of most human culture . I’m also always amazed how us humans invent /create belief systems/values which then become dominated by them and in my view can be expressed in churches / temples\, industrial systems\, political believes\, and so on. So I think that what I’ve made  expresses some of this\, I hope\,  and using in part myths and  legends from antiquity.\n\nThe freedom with which I feel able to select materials derives from encountering  .Art Brut or Raw ART without which it would never have occurred to me to use rotten wood as a supremely expressive material to make art with.\n\nThe work that I am producing is made from a variety of different  materials and combinations of different materials. The majority of pieces are made from fired clay. Of those the greater part now are painted \, after firing just once \, with acrylics. A few are glazed with bright earthen ware colours and some finished with metal oxides fired on to the surface of the clay. The finishes used depend upon the effects that I want to achieve. With acrylic it is possible to achieve quite strident effects \, with glazes at just over 1000 C  much softer more muted effects than with acrylic. With metallic  oxides much harsher effects are possible.\n\nAs well as works with fired clay I also work with papier-mache  which I’ve found as no doubt many others have too to be an extraordinary versatile and expressive material.\n\nIn  addition to fired clay and  papier-mache I also use decayed wood and wood treated in various ways\, metals in various forms added sometimes in the course of making \, or after \, plastic\,[ entire forms or I fragments] \, sacking and other cloths\, string\, and various adhesives and manufactured materials.\n\nThe themes derive from the sense that many of us now feel of impermanence of ambiguity and perhaps the sense that all of have of the instability of most human culture . I’m also always amazed how us humans invent /create belief systems/values which then become dominated by them and in my view can be expressed in churches / temples\, industrial systems\, political believes\, and so on. So I think that what I’ve made  expresses some of this\, I hope\,  and using in part myths and  legends from antiquity.\n\nThe freedom with which I feel able to select materials derives from encountering  .Art Brut or Raw ART without which it would never have occurred to me to use rotten wood as a supremely expressive material to make art with.\n\n \n\njsculpt@dialstart.net\n\n \n\n \n\n \n\n \n\n \n\n \n\n \n\n \n\n 
URL:http://cryptgallery.org/event/two-ships-two-trees-julian-wootton/
CATEGORIES:Exhibitions
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