What are you looking at? by Will Gompertz

Subtitled 150 years of modern art in the blink of an eye, this is not for the purists but it is for me. So much so that I have all three versions – audio, kindle, and paperback; one to listen to while mooching around, one for its search, links, and notes facilities, and one to flick through when neither of the others will do. I have the kind of memory that places something on a page – bottom left, middling-ish on the right, that sort of thing. I can do it with ebooks so long as the font stays the … Continue reading What are you looking at? by Will Gompertz

Aphantasia – absence of ‘mind’s eye’

Nothing to do with never having seen a Disney cartoon, and everything to do with mental imagery, aphantasia is a newly described condition in which people are unable to exercise their ‘mind’s eye’ or ‘get a picture’ in their heads. Typically, they’ve thought other people were speaking metaphorically and, when a range of neuropsychological tests became available through a research project, were surprised to find this wasn’t so. Rather like colour blindness, you have no concept of the missing colour and so no way of knowing you can’t see it unless you come across someone who can. One of the … Continue reading Aphantasia – absence of ‘mind’s eye’

Aphantasia – absence of ‘mind’s eye’

Nothing to do with never having seen a Disney cartoon, and everything to do with mental imagery, aphantasia is a newly described condition in which people are unable to exercise their ‘mind’s eye’ or ‘get a picture’ in their heads. Typically, they’ve thought other people were speaking metaphorically and, when a range of neuropsychological tests became available through a research project, were surprised to find this wasn’t so. Rather like colour blindness, you have no concept of the missing colour and so no way of knowing you can’t see it unless you come across someone who can. One of the … Continue reading Aphantasia – absence of ‘mind’s eye’

Brutalist architecture

I find I’m duplicating research and ideas across my two level one blogs. Copying the whole piece over from one or other side is possible but, with the editing interface differing between the two and other idiosyncrasies of WordPress, I’ve decided to post an introduction and then a link instead. https://conboyhilldrawingone.wordpress.com/2019/05/04/brutalist-architecture/ Continue reading Brutalist architecture

Brutalist architecture

Vis a vis townscapes and my preference for lurking under concrete bridges rather than replicating the lovely-to-live-in-but-twee-to-draw local town and village scenes. I’ve been talking about brutal architecture as though I’d invented the term but it turns out I didn’t – it’s a whole movement! I grew up with it though; the science lab added to the side of my late 1800’s school, the motorways that began to plough huge furrows across the landscape – we saw these on the telly but they didn’t reach us in Yorkshire till the early 1970s – and the kitchen sink dramas that seemed … Continue reading Brutalist architecture

Palimpsest

Came across this word in an episode of The Verb broadcast on April 26th 2019 and still hadn’t quite got the meaning by the end so had to look it up. Suddenly then thought there might be a case for palimpsestic art – painting over old prints from boot sales but without quite obscuring the original. Suddenly also discovered that my made up word, palimpsestic, actually exists and that I’m well behind the curve with regard to palimpsestic art! This is from Artopium, accessed 2nd May 2019. I think in my mind I was seeing an old image, maybe even … Continue reading Palimpsest

Perspective – a re-blog from The Conversation

Four ways in which Leonardo da Vinci was ahead of his time Leonardo da Vinci had a seemingly inexhaustible imagination for innovation. Hywel Jones, Sheffield Hallam University; Alessandro Soranzo, Sheffield Hallam University; Jeff Waldock, Sheffield Hallam University, and Rebecca Sharpe, Sheffield Hallam University Leonardo da Vinci is generally recognised as one of the great figures of the Renaissance and one of the greatest ever polymaths. As the world marks the 500th anniversary of his death, it’s important to look at some of the ways in which he showed that – as well as being a painter, sculptor and engineer – … Continue reading Perspective – a re-blog from The Conversation

Perspective – a re-blog from The Conversation

I was looking for something handy to say on perspective; preferably something that might also illuminate my approach to a technique that foxes me, visually, every time I try to complete a perspective-directed exercise; then this article rolled up right on cue. The Conversation permits re-blogging on condition that the article is not edited, so here’s the whole piece. Comments when I’ve read it properly, but here for reference too. Four ways in which Leonardo da Vinci was ahead of his time Leonardo da Vinci had a seemingly inexhaustible imagination for innovation. Hywel Jones, Sheffield Hallam University; Alessandro Soranzo, Sheffield … Continue reading Perspective – a re-blog from The Conversation

Part 3, a perspective on perspective

Throughout the perspective exercises, I’ve been haunted by Escher and his impossible stairs and landings. I’m fascinated by them but they make my eyes ache and the thought of trying to do anything comparable brings on a mild panic. Why don’t I find it possible to keep track of lines and angles when I’m quite capable of interpreting them both in images and the physical world? Clearly, that information is available to me in a form that allows me to make sense of what I’m seeing (step back, Escher, you’re different!) so why is it so difficult for me to … Continue reading Part 3, a perspective on perspective

Art, meaning, and communication

Last night I finished watching a documentary on Sean Scully, a large, somewhat opinionated man whose abstracts attract big money. He has a troubled past but nevertheless, he annoyed me with is arrogance and so I was taking his story in bite-sized doses. Then in the last twenty minutes, asked why he goes to his galleries and explains his paintings, he said this: You can’t make something as arrogant as an abstract painting and then just say get on with it or you’re stupid. Suddenly, whether it’s because he has a personal need to be understood – and that’s certainly … Continue reading Art, meaning, and communication