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Bonhams : AFTER RAKU CHŌJIRŌ (DIED 1589) A Black Raku Ware Tea Bowl Named “Mukiguri” Edo period (1615-1868), 17th/18th century

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A Black Raku Ware Tea Bowl Named “Mukiguri” Edo period (1615-1868), 17th/18th century Of straight-upper wall with gently sloping hip profile, black-glazed throughout, the bowl in a rounded-square shape, the foot-ring circular with a comma-shape carved into the interior With two wood boxes, the interior bearing two inscriptions on the lid, on the underside Rikyū kuro chawan Mukiguri signed Sa with a kaō and on the top Chōjirō-yaki kuro chawan Joshin’ō kakitsuke mei Mukiguri to su and signed Sa with a kaō , the exterior box with a paper label stating Raku shodai Chōjirō-zō kuro shihō chawan “Mukiguri” and a collector’s seal 3 1/4 x 5in (8.3 x 12.7cm)

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A4 Arts Foundation is a laboratory for the arts in Southern Africa.

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The tea bowl in Japan is deeply revered as part of the Tea Ceremony. This is a Raku bowl with gold Kintsugi repair which I have viewed in the British Museum. Thinking about the significance of the bowl as a vessel.

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Black glazed small-footed Raku teabowl with gold lacquer repairs. Made of pottery. Mark.

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'Rothko Redeemed' review by Charles Pickstone

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To reset your password, find the institution that issued your account.

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At the Serpentine, Theaster Gates Looks to Sacred Spaces.

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To reset your password, find the institution that issued your account.

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About Kimsooja: To Breathe

Kimsooja transformed the historic chapel with  To Breathe, an enthralling installation using light and mirrors and the latest in a series of projects exploring meditative qualities of space.

Kimsooja's practice references and takes inspiration from traditional forms of female labour and craft, such as sewing and weaving, to investigate the role of women. Making quilts with her mother was the initial stimulus to adopting needlework as part of her practice, and since then (1983) the artist has travelled extensively, exploring the cultural importance of clothing, textiles and the associated acts of making.

For over 25 years the artist has used the form and idea of 'bottari' - the South Korean word for a bundle wrapped in fabric, which Kimsooja identifies as "a self-contained world - but one which, like a vessel, can contain everything materially and conceptually". Traditionally used for moving possessions from place to place, the bottari references the displacement of people. Kimsooja has extended the idea to incorporate larger spaces and even architecture, meaning that whole buildings could also be wrapped to alter, contain and re-shape what was within.

To Breathe in the Chapel was such a treatment of architecture. With a lightness of touch, Kimsooja transformed the entire space and blurred expected boundaries. The floor, covered with a mirrored surface, provided an entirely new way of seeing, seeming to open up and unfold the space, making solid surfaces and confining structures appear fluid and expansive. By placing diffraction film on all the windows, the light that entered forms a myriad of rainbow spectrums across the space, which were reflected infinitely via the mirrored floor.

Responsive to the natural environment, the installation changed according to the light quality and intensity, making every experience different and unique. A soundtrack of the artist breathing accompanied the visually spectacular and meditative installation, creating an intimate and shared encounter. What the artist described as the "'void' within the skin of architecture" became the body of the work, and a site of communal contemplation for all who encountered it.

In addition to the physical act of sewing and its various cultural associations, Kimsooja also considers the concept metaphorically, seeing the body as a needle that weaves together the fabric of lives, cultures and cities, celebrating a shared humanity regardless of geographical borders. She is perhaps best known for her video work  A Needle Woman, in which she stands still in a busy city centre, holds her space as people pass by around her, and creates a place of intense calm.

Related to this, Kimsooja's 14-metre-high sculpture  A Needle Woman: Galaxy was a Memory, Earth is a Souvenir, recently shown at Frieze Sculpture curated by YSP Director of Programme, Clare Lilley, has also been sited in the open air. This elegant spire was developed with scientists at Cornell University, New York, who formulated a nanotechnology film applied to the acrylic windowpanes that most closely mimics the iridescence of butterfly wings. With a mirrored floor, the environment within the spire is remarkable and its space appears to extend deep into the earth and to reach into the cosmos. It is a profoundly stilling, meditative experience, whilst from without, the spire is an extraordinarily graceful and uplifting sculpture. This is only the third time that A Needle Woman: Galaxy was a Memory, Earth is a Souvenir has been shown in public.

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Kimsooja: To Breathe | Yorkshire Sculpture Park

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Kimsooja transformed the historic chapel with To Breathe, an enthralling installation using light and mirrors and the latest in a series of projects explor

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the eight directions of the wind

The Huntington, Los Angeles

18 October 2025-26 October 2026

This year-long exhibition unfolds across three locations at The Huntington: the Art Gallery, the Chinese Garden and the Japanese Garden. De Waal presents a series of new site-specific installations exploring memory, cultural exchange and the movement of ideas through porcelain and place.

Photography: Josh White

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the eight directions of the wind – News - Edmund de Waal

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We envision a future where artistic expression, spirituality, and creative activism are integrated to enhance the awareness, effectiveness, and sustainability of social change agents.

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Interior view of the Chapelle du Rosaire
© Succession H. Matisse | Photo © François Fernandez

In July 1943, Henri Matisse left Nice to escape the threat of bombardment and moved to Vence in the Villa Le Rêve where he stayed until 1948.

Dominican nuns ran a nursing home just across the street. His former night nurse and model Monique Bourgeois was convalescing there. He had hired her for a few months in 1942 as he was recovering from major surgery. They became friends and she started posing for him. Fate brought them together again in 1943. They rekindled their friendship and Monique continued to pose for him. In 1944 she took the veil and joined the Dominican community, becoming Sister Jacques-Marie.

I started with the secular and now in the evening of my life, I naturally end with the divine.
Henri Matisse, quoted by Monsignor Rémond, in L'Art sacré, July-August 1951

In 1947, the nuns were in desperate need of a chapel and Sister Jacques showed Matisse sketches she had made for a stained-glass window. On December 4, 1947, Brother Louis-Bertrand Rayssiguier who was passionate about modern art and convinced of its positive impact on religious art came to visit Matisse. He persuaded him not only to decorate but also design the entire chapel which would prove the synthesis of his past experimentations and research.

Helped by Father Marie-Alain Couturier and in collaboration with the architect August Perret and the master glazier Paul Bony, Henri Matisse started working on the project after returning to the Regina in 1949. He gradually turned his vast flat in a studio on the walls of which he displayed his maquettes, most of which were life-sized.

Interior view of the Chapelle du Rosaire
© Succession H. Matisse | Photo © François Fernandez

Interior of the Chapelle du Rosaire, painted ceramic tiles decoration representing Saint Dominique
© Succession H. Matisse pour les œuvres de l'artiste
Photo © François Fernandez

Arts, 29 juin 1951
Centre de documentation du Musée Matisse
© Droits réservés

L'Art sacré, n°11-12, juillet-août 1951,
Letter to Monsignor Rémond, Bishop of Nice
Centre de documentation du Musée Matisse
© Droits réservés

L'Art sacré, n°11-12, juillet-août 1951,
Letter to Monsignor Rémond, Bishop of Nice
Centre de documentation du Musée Matisse
© Droits réservés

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Henri Matisse and the Chapelle du Rosaire - Musée Matisse de Nice

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Interior view of the Chapelle du Rosaire© Succession H. Matisse | Photo © François Fernandez In July 1943, Henri Matisse left Nice to escape the threat of bombardment and moved to Vence in the Villa Le Rêve where he stayed until 1948. Dominican nuns ran a nursing home just across...

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Yoko Ono Artwork Comes to the Rennie Museum

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Experience the iconic artist’s “Mend Piece.”

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DDoS protection by Cloudflare
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Serpentine Pavilion 2022 Black Chapel by Theaster Gates - Serpentine Galleries

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The Serpentine Pavilion 2022: Black Chapel draws inspiration from the architectural typologies of chapels and the great kilns of Stoke-on-Trent, England.

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Black Raku Teabowl, by Chōjirō - MIHO MUSEUM

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by Chojiro
Momoyama period, 16th century
Black Raku ware, black glaze
Height, 8.5cm; mouth diameter, 10.8cm; foot diameter, 5.0cm

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We use functional and analytics cookies in order to improve your experience of our website and to make our website better. Read more in our Privacy Policy. Accept Cookies Reject Cookies

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Edmund de Waal | landfall (2024) | Available for Sale | Artsy

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Available for sale from New Art Centre, Edmund de Waal, landfall (2024), Porcelain, silver, wood, steel and glass, 94 × 61 × 13 cm

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Edmund de Waal b. 1964 Three Beakers, 1995 impressed makers mark porcelain with pale celadon glaze with raised ribs 10 x 10 cms 4 x 4 inches

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She fled from Nazi occupied Austria and branded 'enemy alien in London.

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Lucie Rie | Monumental Carved Chalice Form (Late 19th Century) | Available for Sale | Artsy

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Available for sale from Jeffrey Spahn Gallery, Lucie Rie, Monumental Carved Chalice Form (Late 19th Century), Ceramic, 15 1/2 × 9 1/2 × 8 in

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The Eucharist is at the heart of Christian worship. It is celebrated by Christians around the world as a memorial of the death and resurrection of Jesus, in response to his words at the final meal he shared with his disciples, ‘Do this in remembrance of me.’

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Bacon, Benjamin Wisner. "Eagle and Basket on the Antioch Chalice." The Annual of the American Schools of Oriental Research 5 (1923-24). pp. 1-22.

Exposition internationale d'art byzantin. Paris: Musée des Arts Décoratifs, Pavillon de Marsan, 1931. no. 335, p. 115, pl. I.

The Dark Ages: Loan Exhibition of Pagan and Christian Art in the Latin West and Byzantine East. Worcester, Mass.: Worcester Art Museum, 1937. no. 71, p. 33, ill.

Arnason, H. Harvard. "The History of the Chalice of Antioch." The Biblical Archaeologist 4, no. 4 (December 1941). pp. 49-64, fig. 1.

Arnason, H. Harvard. "The History of the Chalice of Antioch (continued)." The Biblical Archaeologist 5, no. 1 (February 1942). pp. 10-16, fig. 6-7.

Filson, Floyd V. "Who Are the Figures on Chalice of Antioch." The Biblical Archaeologist 5, no. 1 (February 1942). pp. 1-10, fig. 1-5.

Miner, Dorothy, ed. Early Christian and Byzantine Art: An Exhibition Held at the Baltimore Museum of Art. Baltimore: Walters Art Museum, 1947. no. 388, p. 86, pl. LIV.

The Metropolitan Museum of Art. "Eighty-First Annual Report of the Trustees for the Fiscal Year 1950." The Metropolitan Museum of Art Bulletin, n.s., 10, no. 1 (Summer 1951). pp. 24, 26.

The Metropolitan Museum of Art. Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of the Metropolitan Museum of Art. New York: H. N. Abrams, 1952. no. 41, pp. 45, 49, 51, 221.

Rorimer, James J. "The Authenticity of the Chalice of Antioch." In Studies in Art and Literature for Belle da Costa Greene, edited by Dorothy Miner. Princeton, N.J.: Princeton University Press, 1954. pp. 161-68, fig. 127-32.

Hoving, Thomas. "The Thread of Patronage: The Medieval Collections of The Metropolitan Museum of Art and The Cloisters." Apollo 82, no. 43 (September 1965). p. 192, fig. 16.

Ostoia, Vera K. The Middle Ages: Treasures from the Cloisters and the Metropolitan Museum of Art. Los Angeles: Los Angeles County Museum of Art, 1969. no. 6, pp. 24-25, 251-52.

The Metropolitan Museum of Art. Masterpieces of Fifty Centuries. New York: Dutton Publishing, 1970. no. 111, p. 148.

Beeson, Nora B., ed. Guide to The Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 1972. no. 9, p. 211.

Deuchler, Florens. "The Cloisters: Ein Museum für mittelalterliche Kunst in New York." Du 32, no. 2 (1972). p. 95.

Legner, Anton, ed. Rhein und Maas: Kunst und Kultur 800-1400. Volume 1, Der Katalog. Cologne: Museum Schnütgen, 1972. p. 164.

Weitzmann, Kurt. "The Late Roman World." The Metropolitan Museum of Art Bulletin, n.s., 35, no. 2 (Autumn 1977). no. 81, pp. 92-93, fig. 81.

Weitzmann, Kurt, ed. Age of Spirituality: Late Antique and Early Christian Art, Third to Seventh Century. New York: The Metropolitan Museum of Art, 1979. no. 542, pp. 606-8.

Howard, Kathleen, ed. The Metropolitan Museum of Art Guide. New York: The Metropolitan Museum of Art, 1983. no. 8, pp. 341-42.

Frazer, Margaret English. "Medieval Church Treasuries." The Metropolitan Museum of Art Bulletin, n.s., 43, no. 3 (Winter 1985-1986). p. 8, fig. 1.

Allen, Susan Heuck. "The True Vine: Dionysiac Imagery in Coptic Textiles and Later Medieval Art." In Survival of the Gods: Classical Mythology in Medieval Art. Providence, R.I.: Brown University, 1987. p. 7, fig. 6.

Husband, Timothy B., and Charles T. Little. Europe in the Middle Ages. New York: The Metropolitan Museum of Art, 1987. no. 17, pp. 30-31.

Burn, Barbara, ed. Masterpieces of the Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 1993. p. 62.

Howard, Kathleen, ed. The Metropolitan Museum of Art Guide. 2nd ed. New York: The Metropolitan Museum of Art, 1994. no. 8, pp. 374-75.

Kondoleon, Christine. Antioch: The Lost Ancient City. Princeton, NJ: Princeton University Press, 2000. no. 104, pp. 214-15.

Eisenberg, Jerome M. "The New Byzantine Galleries at the Metropolitan Museum of Art." Minerva 12, no. 3 (2001). pp. 26-27, fig. 14.

Evans, Helen C., Melanie Holcomb, and Robert Hallman. "The Arts of Byzantium." The Metropolitan Museum of Art Bulletin, n.s., 58, no. 4 (Spring 2001). p. 21.

McLachlan, Elizabeth Parker. "Liturgical Vessels and Implements." In The Liturgy of the Medieval Church, edited by Thomas J. Heffernan, and E. Ann Matter. Consortium for the Teaching of the Middle Ages. Kalamazoo, Michigan: Western Michigan University, 2005. p. 385.

Cormack, Robin, and Maria Vassilaki, ed. Byzantium 330-1453. London: Royal Academy of Arts, 2008. no. 19, pp. 382-83, ill. p. 78.

The Metropolitan Museum of Art. The Metropolitan Museum of Art Guide. New Haven, CT: Yale University Press, 2012. p. 180.

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The Antioch "Chalice" | Byzantine | The Metropolitan Museum of Art

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Bacon, Benjamin Wisner. "Eagle and Basket on the Antioch Chalice." The Annual of the American Schools of Oriental Research 5 (1923-24). pp. 1-22. Exposition internationale d'art byzantin. Paris: Musée des Arts Décoratifs, Pavillon de Marsan, 1931. no. 335, p. 115, pl. I.

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Whitechapel Gallery is committed to making all of our exhibitions as accessible as possible for every visitor. Please contact access@whitechapelgallery.org if you would like to discuss a particular request and we will gladly discuss with you the best way to accommodate it.

For complete access information about the gallery, please visit https://www.whitechapelgallery.org/visit/access/.
About This Exhibition
- This exhibition takes place in Galleries 5 and 6, accessed via the main staircase in the foyer or the lift to level 1B.

- Up to four visitors may interact with the exhibition at one time. If we are over capacity you may have to wait until someone is finished.

- The exhibition is wheelchair accessible and guide dogs are welcome.

- A large print version of the exhibition text and instruction from the artist is available in the exhibition.

- This is an interactive artwork involving scissors, glue, string and pieces of broken pottery. Care is recommended when handling the broken pottery, which can have some sharp edges.

- We recommend that all children under 12 are accompanied.

- The materials for the exhibition are presented on two two-metre long tables with a chair at each end. Wheelchair users can be accommodated along the long side of each table.

- There is no sound or video in this exhibition.

Please ask a gallery ambassador if you need any further assistance or have questions about the artwork
COVID-19
Following government guidelines, and in order to protect the health and wellbeing of our staff and community of visitors, we have made updates to our Health & Safety measures. Please read the full list here.

- This installation has been adapted in consultation with the artist to allow 2 metres distance between each visitor.

- Hand sanitiser points are installed in the gallery. Please use these before and after interacting with the work.

- A window in the gallery space will be opened to increase ventilation.

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Yoko Ono: MEND PIECE for London - Whitechapel Gallery

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Whitechapel Gallery is committed to making all of our exhibitions as accessible as possible for every visitor. Please contact access@whitechapelgallery.org if you would like to discuss a particular request and we will gladly discuss with you the best way to accommodate it. For complete access information about the gallery, please visit https://www.whitechapelgallery.org/visit/access/.

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A Luncheon with Fur

The story behind the creation of Object, an ordinary cup, spoon, and saucer wrapped evocatively in gazelle fur, has been told so many times its importance in modernist history transcends the fact it might be apocryphal (of dubious authenticity). The twenty-two year old Basel-born artist, Meret Oppenheim, had been in Paris for four years when, one day, she was at a café with Pablo Picasso and Dora Maar. Oppenheim was wearing a brass bracelet covered in fur when Picasso and Maar, who were admiring it, proclaimed, "Almost anything can be covered in fur!" As Oppenheim's tea grew cold, she jokingly asked the waiter for "more fur." Inspiration struck-Oppenheim is said to have gone straight from the café to a store where she purchased the cup, saucer, and spoon used in this piece. This amusing story belies the importance of Object and the critical acclaim and public fascination that has elevated it to point where it has become the definitive surrealist object...ultimately to Oppenheim's dismay.

What Is a Surrealist Object?

Oppenheim's Object was created at a moment when sculpted objects and assemblages had become prominent features of Surrealist art practice. In 1937, British art critic Herbert Read emphasized that all Surrealist objects were representative of an idea and Salvador Dalí described some of them as "objects with symbolic function." In other words, how might an otherwise typical, functional object be modified so it represents something deeply personal and poetic? How might it, in Freudian terms, resonate as a sublimation of internal desire and aspiration? Such physical manifestations of our internal psyches were indicative of a surreality, or the point in which external and internal realities united, as described by André Breton (one of Surrealism's founders and theorists) in his first Manifesto of Surrealism.

Visceral Responses

What, then, do we make of this set of be-furred tableware? Interpretations vary wildly. The art historian Whitney Chadwick has described it as linked to the Surrealist's love of alchemical transformation by turning cool, smooth ceramic and metal into something warm and bristley, while many scholars have noted the fetishistic qualities of the fur-lined set-as the fur imbues these functional, hand-held objects with sexual connotations.

In a 1936 issue of the New Yorker Magazine, it was reported that a woman fainted "right in front of the fur-bearing cup and saucer [while it was on exhibit at MoMA]. "She left no name with the attendants who revived her - only a vague feeling of apprehension." ¹ Such visceral reactions to Oppenheim's sculpture come closest, perhaps, to what were likely the artist's aspirations. In an interview later in life, Oppenheim described her creations as "not an illustration of an idea, but the thing itself."

Unlike Read and Dalí, Oppenheim stresses the physicality of Object, reinforcing the way we can readily imagine the feeling of the fur while drinking from the cup, and using the saucer and spoon. The frisson we experience when china is unexpectedly wrapped in fur is based on our familiarity with both, and the fur requires us to extend our sensory experiences to fully appreciate the work. Object insists we imagine what sipping warm tea from this cup feels like, how the bristles would feel upon our lips. With Oppenheim's elegant creation, how we understand those visceral memories, how we create metaphors and symbols out of this act of tactile extension, is entirely open to interpretation by each individual, which is, in many ways, the whole point of Surrealism itself.

Presentation Problems

In spite of our individual response, the interpretation of Object has been complicated by the ways it was assigned meaning by others. When Object was finished, Oppenheim submitted it to Breton for an exhibition of Surrealist objects at the Charles Ratton Gallery in Paris in 1936. However, while Oppenheim preferred a non-descriptive title, Breton took the liberty of titling the piece Le Déjeneur en fourrure, or Luncheon in Fur. This title is a play on two nineteenth-century works: Édouard Manet's infamous modernist painting Luncheon on the Grass (Le Déjeneur sur l'herbe) and Leopold von Sacher-Masoch's erotic novel Venus in Furs. With these two references, Breton forces an explicit sexualized meaning onto Object. Recall that the original inspiration for this work was implicitly practical: when Oppenheim asked the waiter for more fur for her cooling teacup, it was suggested as a way to keep her tea warm, and not necessarily as overtly sexual.

The Meaning of Others

Certainly we cannot assume that the spark of the idea for this piece and the piece itself are necessarily related, but the way meanings have been ascribed to Oppenheim's pieces by others has plagued many of her works.

Art historian Edward Powers has noted that when Oppenheim sent her Surrealist object Das Paar to a photographer before submitting it for exhibition, the photographer took the liberty of tying up the laces before photographing it. When Breton saw the photo with tied laces, he dubbed this object à délacer which in French means to untie, typically either shoes or a corset. The title and laced shoes together suggest the potential act of undressing and a fascination with exposing the female body. However, when Oppenheim later described Das Paar (with the laces untied), she stated it was an "odd unisexual pair: two shoes, unobserved at night, doing 'forbidden' things." She expressly assigned no gender, and suggests the "forbidden" acts already taking place between anthropomorphized shoes. She takes a more literal approach, the shoes as expressive things in themselves, rather than symbolically resonant of something else.

This is not to suggest that all her interactions with Breton were negative. When she happened across a wonderfully disturbing photograph of a bicycle seat covered in bees, she mailed it to Breton, who republished the found photograph as an artistic contribution by Oppenheim in the third issue of the new Surrealist publication Medium.

Dangerous Success

Yet, the early acclaim for the fur-covered Object had a negative effect on Oppenheim's early career. When it was purchased by The Museum of Modern Art and featured in their influential 1936-37 exhibition "Fantastic Art, Dada, and Surrealism," visitors declared it the "quintessential" Surrealist object. And that is how it has been seen ever since. But for Oppenheim, the prestige and focus on this one object proved too much, and she spent more than a decade out of the artistic limelight, destroying much of the work she produced during that period. It was only later when she re-emerged, and began publicly showing new paintings and objects with renewed vigor and confidence, that she began reclaiming some of the intent of her work. When she was given an award for her work by the City of Basel, she touched upon this in her acceptance speech: "I think it is the duty of a woman to lead a life that expresses her disbelief in the validity of the taboos that have been imposed upon her kind for thousands of years. Nobody will give you freedom; you have to take it."

1. Nelson Landsdale and St. Clair McKelway, Talk of the Town, "Critical Note," The New Yorker, December 26, 1936, p. 7.

Additional resources
This object at MoMA Practice quiz on this object
Smarthistory images for teaching and learning:
More Smarthistory images...

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Meret Oppenheim, Object (Fur-covered cup, saucer, and spoon)

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The story behind the creation of Object, an ordinary cup, spoon, and saucer wrapped evocatively in gazelle fur, has been told so many times its importance in modernist history transcends the fact it might be apocryphal (of dubious authenticity).

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Ai Weiwei | Bowls of Pearls (2006) | Artsy

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From Andy Warhol Museum, Ai Weiwei, Bowls of Pearls (2006)

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A video of an ocean storm swirls within a perfect china teacup.

The film circling within the cup is a clip from the famous film Man of Aran, made by Robert Flaherty in the 1930's. It depicts island life on the Aran Islands which lie on the extreme Atlantic west coast of Ireland. A currach, a traditional island boat, is seen out at sea battling a great storm. It is eventually swept onto the rocks and fragments. The loop repeats and repeats.

The delicate china cup would have been used for afternoon tea within polite British society. Here it appears to contain the ocean - a futile attempt to tame or colonise nature.

The video, when shown, is on a monitor or projected the actual size of the teacup.

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A video of an ocean storm swirls within a perfect china teacup. The film circling within the cup is a clip from the famous film Man of Aran, made by Robert Flaherty in the 1930's. It depicts island life on the Aran Islands which lie on the extreme Atlantic west coast of Ireland.

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Vivian Suta

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Argentine-Swiss artist Vivian Suter, spent her teens and early career in Switzerland before moving to Panajachel, Guatemala in her thirties, setting up her…

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I attended a Tea Ceremony demonstration at Japan House in London. I learned more about this ritual of mindfulness, simplicity and respect.

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Windows on Tea: Live Chadō Demonstrations by Tankokai UK

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Join us in The Shop at Japan House London to learn about the Way of Tea in a series of special demonstrations by Tankokai UK.

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LAYERS

REPETITION

SLOW

NURTURING

ENVELOPING

CONTAINING

TIME

HOLDING

FORAGING

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Key Japanese Aesthetic Principles:

Wabi-sabi - beauty in imperfection

Shizen - respecting natural materials

Ma - space in between

Seijaku - stillness and tranquility

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A theme running through Project 1 and 2 was the Japanese philosophy of Wabi-Sabi - the beauty in imperfection and impermanence. It is this that I have become increasingly interested in for Project 3 alongside other Japanese aesthetic principles.

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Thinking about the word TRANSPARENCY and why this is important to me.

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In this work I continue my theme around IMPERMANENCE and IMPERFECTION. These elements are central to the Japanese philosophy of Wabi-Sabi I explored in Project 1.

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DISRUPTION OF A SURFACE

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Beauty with imperfection.

Thankless tasks.

Reverence for the mundane.

Impermanence.

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IMPERMANENCE

TRANSIENCE

SILENCED

FRACTURES

REMEMBRANCE

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My first attempt in creating a bowl. I have used some of my Japanese marbled teabag papers but they were too thin and tore when I tried to remove the mould. I needed to add more layers.

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I ironed some of my wood shavings from my last project to use in creating a bowl exterior.

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This year is a mast year for acorns interestingly and I foraged for some on my woodland walks to make some acorn cap ink to stain some of my papers.

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I was recommended this pink size for very fine detailed gold leaf work but it was not as effective as the Wrights of Lymm brand I used at West Dean.

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This is the resulting colour of my home made ink. I realised that you need a lot of plant matter to make a greater volume of ink and for more intensity of colour.

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Had a productive and useful studio day at WD. I was able to experiment with different black inks and see how they behaved on the water surface. Out of all the inks I tried the Winsor an Newton and traditional Sumi ink were the most successful. I also tried out different papers, copy paper, teabag paper, tracing paper, Washi paper, muslin and silk.

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Paper Marbling 101 - How to make the stone pattern

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Saw some beautiful work in the Japan section in the Met Museum in New York over the summer. Am still intrigued by the use of gold and poetry to enhance artwork and would like to add some of my own Haiku poetry and gold leaf within my works.

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At last review it was recommended that I look at the artist Rebecca Salter due to the influence of her time in Japan on her work. I was interested to discover that she went through a process of cutting up her watercolour landscapes into shapes and reorganised them. I will need to fragment my artwork on paper by tearing them into strips to create a bowl.

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Ones to Watch: Kay Sekimachi - Western Art & Architecture

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Spotlighting the work of fiber and textile artist Kay Sekimachi

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Karen Olson paper sculpture.

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Traudel Stahl work. I love the fragility of this piece.

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Am interested in the washi paper work by Kyoko Ibe. Thinking about using this paper in this project.

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Interesting to hear that Edmund De Waal's work is heavily influenced by his time in Japan.

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Edmund de Waal on Pottery, Poetry, and the Act of Letting Go - Time Sensitive

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Saw the beautiful Hiroshige exhibition at the British Museum.

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Thinking about TRANSPARENCY and find this book by photographer Miho Kajioka inspiring in that it was printed on tracing paper so each page is transparent. She embraces the wabi-sabi concept.

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So It Goes, So It Goes - Miho KAJIOKA | shashasha - Photography & art in books

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In this book, Kajioka presents a work relating to the concepts of time, memory and place. As in her previous works, “So It Goes, So It Goes” reveals intuitive images of fragments of daily life at d…

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 Barbara Nicholls, Our Ancestors Bloom Overground, Patrick Heide Contemporary Art 2023.

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Loved this work by Barbara Nicholls and the fluidity of the paint creating these beautiful shapes. Am aiming for a more organic effect in my final piece.

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Was inspired by this display of hanging works by Cas Holmes and thinking more about how to hang my work.

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Went to see this Emma McNally exhibition, 'The Earth is Knot Flat'. Thinking about disrupting the surface of paper.

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There is so much beautiful detail in these works and I am wanting to try some marbling as a possibility for my final piece.

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Henk Peeters, Burn Hole.
Interested in the burn holes and plaster texture that disrupt the surface of the canvas.

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Am interested in the organic shapes in this work by Ian McKeever.

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Wyndham Lewis, Workshop, oil paint on canvas, support: 765 × 610 mm frame: 910 × 760 × 70 mm c.1914-15 | Tate

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(accessed 29.10.24)

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'Workshop', Wyndham Lewis, c.1914-15 | Tate

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'Workshop', Wyndham Lewis, c.1914-15 on display at Tate Britain.

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Paul Cézanne, Still Life with Apples and a Pot of Primroses, ca 1890, Oil on canvas, The Metropolitan Museum of Art, 73 x 92.4cm (accessed 19.10.24)

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Claude Monet. Letter to Paul Helleu. March 21, 1894 [published in Howard-Johnston 1969], thanks Helleu for "le Cézanne" (this picture).

Claude Monet. Letter to [Paul] Durand[-Ruel]. March 30, 1894 [published in Lionello Venturi, "Les Archives de l'Impressionnisme," Paris, 1939, vol. I, p. 349 and Wildenstein 1979], asks Durand-Ruel to send to him "mon Cézanne et la toile de fleurs que M. Martial Caillebotte a dû déposer chez vous pour moi" (my Cézanne and the flower painting that Mr. Martial Caillebotte had to deposit with you for me), referring to this picture.

Paul Cézanne: Mappe. Munich, 1912, pl. 10, as "Äpfel und Primeltopf".

Gustave Geffroy. Claude Monet: Sa vie, son temps, son œuvre. Paris, 1922, p. 331, lists it as "des fleurs" among paintings by Cézanne in Monet's collection.

Cinquante ans de peinture française, 1875-1925. Exh. cat., Musée des Arts Décoratifs. Paris, 1925, p. 7, no. 12, dates it 1886.

Stephan Bourgeois and Waldemar George. "The French Paintings of the XIXth and XXth Centuries in the Adolph and Samuel Lewisohn Collection." Formes nos. 28-29 (1932), p. 301, ill. after p. 304.

"In the World of Art: Modern European Paintings." Mid-Week Pictorial 38 (October 14, 1933), ill. p. 10, notes its inclusion in the "Exhibition of Modern European Art" at the Museum of Modern Art, New York.

Lionello Venturi. Cézanne: son art-son oeuvre. Paris, 1936, vol. 1, pp. 57, 194, no. 599; vol. 2, pl. 194, no. 599, calls it "Pot de géraniums et fruits" and dates it 1890-94.

Élie Faure. Cézanne. Paris, [1936], fig. 40, dates it about 1890.

Jacques de Laprade. "L'exposition Cézanne à l'Orangerie." Beaux-Arts no. 177 (May 22, 1936), p. 2, ill. p. 10, dates it about 1885.

Charles Sterling in Cézanne. Exh. cat., Musée de l'Orangerie. Paris, 1936, p. 96, no. 70, pl. XXXVII, dates it 1886-88.

René Huyghe. Cézanne. Paris, 1936, pp. 44, 48, 66, fig. 36, dates it about 1885.

John Rewald. "Cézanne et son oeuvre." L'art sacré special number (May 1936), p. 8, fig. 15.

"Cézanne's Paintings and Watercolors Exhibited in Fine One Man Loan Show at the Paris Orangerie." Art News 34 (August 15, 1936), pp. 6, 13, ill., dates it about 1886-88.

Exhibition of Masters of French 19th Century Painting. Exh. cat., New Burlington Galleries. London, 1936, pp. 40-41, no. 89, pl. IX, dates it 1886-88.

Sam A. Lewisohn. Painters and Personality: A Collector's View of Modern Art. [New York], 1937, p. 37, pl. 18, calls it "Apples and Primroses".

Fritz Novotny. Cézanne. Vienna, 1937, pl. 74, calls it "Still-Life with Pot of Geraniums" and dates it 1886-90.

Introduction by René Huyghe. Cent trente chefs-d'œuvre de l'art français du moyen age au XXe siècle. Paris, 1937, pl. 114.

Charles Sterling in Chefs d'œuvre de l'art français. Exh. cat., Palais National des Arts. Paris, 1937, pp. 127-28, no. 253.

Fritz Novotny. Cézanne und das Ende der Wissenschaftlichen Perspektive. Vienna, 1938, pp. 71-72 n. 64.

Robert J. Goldwater. "Cézanne in America: The Master's Paintings in American Collections." Art News Annual, section I (The 1938 Annual), 36 (March 26, 1938), p. 160, ill. p. 143, dates it 1890-94; compares the "clarity of color and openness of arrangement" to Cézanne landscapes of the 1890s.

Alfred M. Frankfurter. "Cézanne: Intimate Exhibition. Twenty-one Paintings Shown for the Benefit of Hope Farm." Art News 36 (March 26, 1938), pp. 17, 30, ill., dates it 1890-94.

Alfred M. Frankfurter. "Cézanne in New York." Burlington Magazine 72 (May 1938), p. 243, dates it 1890-94.

Albert C. Barnes and Violette De Mazia. The Art of Cézanne. New York, 1939, pp. 72, 313 n. 23, pp. 363, 414, no. 121, date it about 1890.

Raymond Cogniat. Cézanne. Paris, 1939, pl. 78, dates it 1890-94.

Sam A. Lewisohn. "Personalities Past and Present." Art News, section I (The 1939 Annual), 37 (February 25, 1939), ill. p. 69 (installation photo of Lewisohn's home).

Alfred M. Frankfurter. "383 Masterpieces of Art." Art News (The 1940 Annual) 38 (May 25, 1940), p. 66.

Walter Pach in Masterpieces of Art: Catalogue of European and American Paintings, 1500-1900. Exh. cat., World's Fair. New York, 1940, pp. 235-36, no. 346, ill., dates it 1886-90.

Art in Progress. Exh. cat., Museum of Modern Art. New York, 1944, ill. p. 24, dates it 1890-94.

Walt Kuhn. "Cézanne: Delayed Finale." Art News 46 (April 1947), pp. 15-16, ill., dates it 1890-94.

Bernard Dorival. Cézanne. [English ed., 1948]. Paris, 1948, pp. 57, 161, pl. 98, dates it 1890-94 and erroneously locates it as still in the A. Lewisohn collection; comments that Cézanne very rarely included plants in his still lifes.

Fritz Novotny. Cézanne. New York, 1948, pl. 68, dates it 1886-90.

Liliane Guerry. Cézanne et l'expression de l'espace. [1st ed.; 2nd ed., 1966]. Paris, 1950, pp. 70, 99.

Theodore Rousseau Jr. in The Lewisohn Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1951, pp. 7-8, 13, 43, no. 13, ill., calls it "one of the most balanced, carefully carried out works of the master" and remarks that the arrangement of the apples and cloth have "a rhythm reminiscent of his landscapes".

Daniel Catton Rich in Cézanne: Paintings, Watercolors & Drawings. Exh. cat., Art Institute of Chicago. [Chicago], 1952, p. 75, no. 83, ill., dates it 1890-94, and calls the still lifes of this period "among the most objectified and realistic of all Cézanne's work".

Theodore Rousseau Jr. "Notes." Metropolitan Museum of Art Bulletin 10 (May 1952), unpaginated, ill. on front cover (color), calls it "Still Life with Apples and Primroses" and dates it to the early 1890s; states that Cézanne gave it to Monet [see Refs. Raynal 1954, Howard-Johnston 1969]; remarks that "for many years it hung over the head of Monet's bed in his house at Giverny, and his widow refused to sell it in her lifetime".

Theodore Rousseau Jr. The Metropolitan Museum of Art Miniatures: Paintings by Paul Cézanne. Vol. 35, New York, 1952, unpaginated, ill. (color), dates it 1890-94; notes that it "has the same serious qualities as The Card Players" (MMA 61.101.1) and that its serenity recalls "The Gulf of Marseilles, Seen from L'Estaque" (MMA 29.100.67).

Bernard Berenson. Caravaggio: His Incongruity and His Fame. London, 1953, pp. 23-24.

Lawrence Gowing and Ronald Alley. An Exhibition of Paintings by Cézanne. Exh. cat., Royal Scottish Academy Building. Edinburgh, 1954, unpaginated, under no. 40, note that the same pot of flowers appears in "Pot of Primroses and Fruit" (about 1888-90; Courtauld Institute of Art, London; V623, R639); based on the table, suggest that both pictures were painted at Aix and comment that they "precede the elaborately constructed groups of the nineties".

Maurice Raynal. Cézanne. Lausanne, 1954, p. 85, ill. (color), dates it 1890-94; states that Monet bought it in 1894 "almost as soon as Cézanne had finished it" [see Refs. Rousseau 1952, Howard-Johnston 1969].

Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 18.

Theodore Rousseau Jr. "A Guide to the Picture Galleries." Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), ill. p. 53.

Howard Fussiner. "Organic Integration in Cézanne's Painting." College Art Journal 15 (Summer 1956), pp. 304-8, 310-11, fig. 2, dates it 1890-1900; compares it to Chardin's "Kitchen Still Life" (Museum of Fine Arts, Boston) and Degas's "A Woman Seated beside a Vase of Flowers" (MMA 29.100.128).

Michel Faré. La nature morte en France. Geneva, 1962, vol. 2, fig. 499, erroneously as still in the Lewisohn collection.

Don Richardson. Letter to Mrs. Whitney. November 22, 1964, asserts that the flowers are Chinese, not English, primroses.

Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX-XX Centuries. New York, 1967, pp. 102-4, ill.

Margaretta M. Salinger. "Windows Open to Nature." Metropolitan Museum of Art Bulletin 27 (Summer 1968), unpaginated, ill. (color), dates it about 1886.

Richard W. Murphy et al. The World of Cézanne: 1839-1906. New York, 1968, p. 134, ill. (color), dates it 1890-94.

Chuji Ikegami. Cézanne. Tokyo, 1969, p. 131, no. 49, ill. (color and black and white), dates it 1890-94.

Paulette Howard-Johnston. "Une visite à Giverny en 1924." L'Oeil no. 171 (March 1969), pp. 31-32, fig. 1 (color), states that Paul Helleu gave this picture to Monet in 1894 and publishes a letter from Monet to Helleu from March 21, 1894, in which Monet thanks Helleu for "le Cézanne" [see Rousseau 1952, Raynal 1954].

Sandra Orienti in L'opera completa di Cézanne. [French ed., 1975; English ed., 1985]. Milan, 1970, pp. 123-24, no. 822, ill., dates it 1890-94.

Bernard Dunstan. Painting Methods of the Impressionists. New York, 1976, p. 94, ill. (color).

Daniel Wildenstein. Claude Monet: Biographie et catalogue raisonné. Vol. 3, 1887-1898: Peintures. Paris, 1979, p. 276, nos. 1234-1235, dates Monet's letter to Helleu about this picture [see Monet 1894 and Howard-Johnston 1969] to March 20, 1894.

Stephen K-M. Tim. Letter to Charles Moffett. April 7, 1982, identifies the plant as a primrose and notes its particular similarity to the Chinese primrose, a species introduced into Europe for indoor decoration.

John Rewald. Paul Cézanne: The Watercolors, A Catalogue Raisonné. Boston, 1983, p. 221, under no. 542, lists this painting among three others depicting the same table, noting that the table also appears in several watercolors; adds that this table was likely "a prop the artist used in Aix and... the works in which it appears were executed there".

Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 11, 184-85, 253, ill. (color, overall and detail).

Christian Geelhaar in Mary Louise Krumrine. Paul Cézanne: The Bathers. Exh. cat., Museum of Fine Arts. Basel, 1990, p. 302 n. 63, lists it among a group of thirteen Cézanne paintings which were owned by Monet.

Roger Hurlburt. "Free Spirits." Sun-Sentinel (Fort Lauderdale) (December 20, 1992), p. 4D.

Helen Kohen. "Lasting Impressions." Miami Herald (December 20, 1992), p. 6I.

Götz Adriani. Cézanne: Gemälde. Exh. cat., Kunsthalle Tübingen. Cologne, 1993, p. 114 n. 2, p. 178 n. 1 [English ed., 1995].

Jean-Marie Baron and Pascal Bonafoux. Cézanne: Les natures mortes. Paris, 1993, pp. 38-39, ill. (color), date it 1890-94.

Charles F. Stuckey. Claude Monet, 1840-1926. Exh. cat., Art Institute of Chicago. Chicago, 1995, p. 225, states that this picture was sent to Monet by Durand-Ruel in late March 1894, as a gift from Paul Helleu.

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 468, ill. p. 469.

Walter Feilchenfeldt in Cézanne. Exh. cat., Galeries Nationales du Grand Palais, Paris. Philadelphia, 1996, p. 571 [French ed., Paris, 1995].

John Rewald, in collaboration with Walter Feilchenfeldt, and Jayne Warman. The Paintings of Paul Cézanne: A Catalogue Raisonné. New York, 1996, vol. 1, pp. 434, 567-70, no. 680; vol. 2, p. 233, fig. 680, calls it "Pot de primevères et fruits sur une table" and dates it about 1890.

Henri Loyrette in Cézanne. Exh. cat., Galeries Nationales du Grand Palais, Paris. Philadelphia, 1996, p. 99 n. 2 [French ed., Paris, 1995], lists it among fourteen Cézanne paintings owned by Monet.

Isabelle Cahn in Cézanne. Exh. cat., Galeries Nationales du Grand Palais, Paris. Philadelphia, 1996, p. 567 [French ed., Paris, 1995].

Sarah Lees in The Clark Brothers Collect: Impressionist and Early Modern Paintings. Exh. cat., Sterling and Francine Clark Art Institute. Williamstown, Mass., 2006, p. 245.

Gilbert T. Vincent and Sarah Lees in The Clark Brothers Collect: Impressionist and Early Modern Paintings. Exh. cat., Sterling and Francine Clark Art Institute. Williamstown, Mass., 2006, p. 148, remark that Stephen Clark considered it for his first purchase of a Cézanne, but decided its asking price was too high.

Susan Alyson Stein in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800-1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 110, 188-89, no. 76, ill. (color and black and white).

Susan Alyson Stein in Masterpieces of European Painting, 1800-1920, in The Metropolitan Museum of Art. New York, 2007, pp. 124, 222, no. 113, ill. (color and black and white).

Jayne S. Warman in Cézanne and Paris. Exh. cat., Musée du Luxembourg. Paris, 2011, p. 167, fig. 83 (color) [French ed., 2011].

Guillermo Solana. Cézanne site/non-site. Exh. cat., Museo Thyssen-Bornemisza. Madrid, 2014, pp. 139-40, fig. 23 (color), compares the placement of apples in it to that of houses on the hillside of "The Sea at L'Estaque behind Trees" (1878-79, Musée Picasso, Paris).

Walter Feilchenfeldt, Jayne Warman, and David Nash. The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné. 2014-?, no. 824, ill. (color) [https://www.cezannecatalogue.com/catalogue/entry.php?id=659], as "Pot de primevères et fruits sur une table".

Sylvie Patin in Paul Cezanne: Le chant de la terre. Ed. Daniel Marchesseau. Exh. cat., Fondation Pierre Gianadda. Martigny, 2017, pp. 59, 61, as "Pot de primevères et fruits sur une table" (Pot of Primroses and Fruits on a Table).

Rachel E. Perry. "Immutable Mobiles: UNESCO's Archives of Colour Reproductions." Art Bulletin 99 (June 2017), fig. 4, as "Pot de Géranium et fruits/ Pot of Geraniums and Fruit"; reproduces pp. 58-59 of the "Catalogue of Colour Reproductions of Painting from 1860 to 1949" [Paris: UNESCO, 1949], where this work appears as no. 46.

Dominique Lobstein in Monet the Collector. Exh. cat., Musée Marmottan Monet. Paris, 2017, pp. 125, 168, fig. 34 (color), states that the picture was probably called "Still Life" when it was sold to Helleu.

Paul Smith in Cezanne to Malevich: Arcadia to Abstraction. Ed. Judit Geskó. Exh. cat., Museum of Fine Arts, Budapest. Budapest, 2021, pp. 45-46, figs. 1, 1a (color overall and detail), states that Cézanne intentionally painted over two leaf stalks that emerge from the pot; links the resultant visual effect to the perceptual theories of George Trumbull Ladd and Anton Ehrenzweig.

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Paul Cézanne | Still Life with Apples and a Pot of Primroses | The Metropolitan Museum of Art

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The Painting: Paul Cézanne often has been called a master of still-life painting. In The Met's picture, we can see why.

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 Hokusai, The Great Wave off Kanagawa, 1831, woodblock print, 25.7 x 37.9 cm, The Met (accessed 29.10.24)

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(accessed 29.10.24)

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Sam Boughton, Sundown on the Mawddach Estuary, 2024, mixed media on paper, 80cm x 100cm, Samboughton.co.uk (accessed 29.10.24)

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David Bomberg, Trendrine, Cornwall, 1847, oil on canvas, 81.3 x 106.7cm, 1, Arts Council Collection, (accessed 30.10.24)

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'Trendrine, Cornwall' was painted during a camping trip to Trendrine farm, near Zennor, in the summer of 1947. For this view, Bomberg placed his easel in the field in front of the campsite, facing inland towards the hills. While the canvas appears abstract, the slope of the hill is suggested in the strong diagonals, and the landscape rises upwards towards a blazing sun on the horizon. Bomberg's treatment of the Cornish countryside, and his use of crimsons, vivid oranges and acidic yellows, is reminiscent of the Mediterranean landscapes he had painted in Spain and Palestine in the 1920s and 1930s. From 1945, much of Bomberg's time was devoted to teaching at the Bartlett School of Architecture and Borough Polytechnic in London, but his trips to Devon and Cornwall in 1946 and 1947 helped reinvigorate his painting. Pictures such as 'Trendrine, Cornwall' exemplified his teaching, which stressed the need not just to study nature closely, but to also imbue it with one's own personal vision and gesture. Jacky Klein

Artwork Details: 81.3 x 106.7cm

Material description: oil on canvas

Credit line: Arts Council Collection, Southbank Centre, London © The Estate of David Bomberg. All Rights Reserved, DACS 2015.

Accession number: AC 446

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Trendrine, Cornwall | The Arts Council Collection

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‘Trendrine, Cornwall’ was painted during a camping trip to Trendrine farm, near Zennor, in the summer of 1947. For this view, Bomberg placed his easel in the field in front of the campsite, facing inland towards the hills. While the canvas appears abstract, the slope of the hill is suggested in the strong diagonals, and the landscape rises upwards towards a blazing sun on the horizon.

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DRIFT (Lonneke Gordijn and Ralph Nauta), Shy Society, 2024, Installation, Kat Barandy, Designboom, October 25th 2024, photography Ela Bialkowska (accessed 29.10.24)

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designboom | architecture & design magazine

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DRIFT suspends pulsating installation in renaissance courtyard of florence’s palazzo strozzi

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in florence’s palazzo strozzi, studio DRIFT’s installation mimics the organic, unpredictable movements of flowers.

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Four artists discuss identity, gender and revolution

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Frank Bowling – From Figuration to Abstraction | Artist Interview | TateShots,Tate, April 19th 2012 (accessed 11/11/24)  https://www.youtube.com/watch?v=fD5Ft2t7QBI&t=2s

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Tate Shots, Tate, April 19th 2012 (accessed 11/11/24)

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Frank Bowling – From Figuration to Abstraction | Artist Interview | TateShots

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Jenkins, Lela (2024), Perspectives, Powerful Stories on Black Art History - The Metropolitan Museum of Art, February 16th 2021 (accessed 11.11.24) https://www.metmuseum.org/perspectives/black-history-month-videos

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5 Powerful Stories on Black Art History - The Metropolitan Museum of Art

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Celebrate Black History Month with these 5 videos on Black art, culture, and history—plus more from The Met collection.

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Tania Kovats, All the Islands and all the Seas, 2016,

Ink on layered mylar and pins, 32 Frames 42 x 30cm (accessed 11.11.24)

Inspiration for Project 1

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Parafin is delighted to present a solo exhibition with Tania Kovats, her second with the gallery. Kovats makes drawings, sculpture, installations and large- scale time-based projects that explore our experience and understanding of the natural world.

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How to stretch drawing paper by artist Sonia Reeder-Jones, (accessed 12.11.24) https://www.youtube.com/watch?v=vFWtsbnq7xs&t=5s

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How to stretch drawing paper by artist Sonia Reeder-Jones

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Middle image - James McNeill Whistler, Nocturne: Blue and Silver–Cremorne Lights, 1872, Oil on canvas, 50.2 x 74.3 cm, Tate; N03420, © Tate, London / Art Resource, NY, accessed 28/11/24.

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Exhibition: Where Shall Wisdom Be Found? (Job 28). Featuring works of art by John Constable, James McNeill Whistler and Ludolf Backhuysen I. Commentaries by Spike Bucklow.

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Emma McNally: The Earth is Knot Flat - Drawing Room, 2024. Paper, graphite, gum arabic, kaolin installation. (accessed 3/12/24)

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Thinking about materiality...

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This exhibition uses drawing to think through the materially entangled, interconnected nature of gender, racial and environmental injustices. McNally makes her large drawings in a building constructed for rope making in London's Woolwich Dockyards and she has a view onto the Tate and Lyle sugar refinery. Both sugar - known in the 18th Century as 'white gold' - and rope, are products that represent global entanglements of domination and subjugation. Drawing on this history and the complexity of her Irish/Australian ancestry, the exhibition will be the physical manifestation of the artist's ongoing conversations with international thinkers such as theorist and poet Fred Moten and physicist Karen Barad.

Cascading from the ceiling in large 'plates' to the floor, McNally's installation will resemble geological and environmental movement, suggesting rock falls, avalanches and shifting tectonics. Torn fragments of drawing floating across the floor are reminiscent of sea ice, glaciers, dust and refuse, whilst suspended woven knots made of wire and string accumulate in clusters overhead. An immersive film, made in collaboration with Manon Schwich, casts light and shadows on the various elements and generates an uncertain atmosphere, a confusing mixture of presence and absence. Visitors to the exhibition are invited to make and share different ways of drawing, using crochet and other creative activities to make their own knots and suspend them; over the duration of the exhibition a growing, multi-authored installation will emerge in the adjacent gallery. Sharing traditions of making, such as Irish Crochet Lace, is a way of understanding history through material production and will form an important, interactive element of the project.
Artist biography
Born 1969, Essex, McNally lives and works in London. Her graphite drawings, a multitude of different marks, conjure up dynamic weather systems and matter moving through different states. They suggest an attempt to chart shifting systems of immense complexity, drawing on soundings, data visualisations, electronic microscopes, particle collision chambers and satellite imaging. She studied Philosophy and Literature at the University of York before continuing her thinking visually through drawing. For over 20 years McNally supported her drawing in the studio by painting large scale reproductions of Renaissance paintings on the street - including long periods outside York Minster, in the shadow of St Paul's Cathedral, London and on the South Bank of the Thames.

Recent group exhibitions include: Afterness, Artangel / National Trust, Orford Ness, UK (2021); 20th Biennale of Sydney, AU (2016), The Form of Form, Lisbon Architecture Triennale(2016); Mirrorcity, Hayward Gallery, London, UK (2015); Abstract Drawing, curated by Richard Deacon, Drawing Room, London (2014). Seeing/Knowing, Kenyon College of Liberal Arts, Ohio, US (2011). In the period 2016-21, McNally withdrew from exhibiting and was involved intensely with political activism. Her works are held in numerous private and public collections including Museum of Fine Arts, Houston, US and MONA, AU.

Emma McNally is developing new work for the exhibition thanks to the award of an Arts Council England National Lottery Project Grant.

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Emma McNally: The Earth is Knot Flat - Drawing Room

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This exhibition uses drawing to think through the materially entangled, interconnected nature of gender, racial and environmental injustices. McNally makes her large drawings in a building constructed for rope making in London's Woolwich Dockyards and she has a view onto the Tate and Lyle sugar refinery.

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Susan Collis, It's Lighter Than You Think, 2023, coloured pencil, graphite, ink on paper, on board 65.5 x 91.5 x 4.5cm (accessed 3/12/24)

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Related to my thinking of displaying Project 1 on the floor.

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Phyllida Barlow - Hauser & Wirth, , ‘Phyllida Barlow: set’, Installation view The Fruitmarket Gallery, Edinburgh, UK, 2015 (accessed 3/12/2024)

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Thoughts about how I could've displayed Project 1 piece.

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BBC Radio 4 - Arts & Ideas, Oceans, art and pacific poetry, Artist Tania Kovats has created a baton just delivered to COP26. Margo Neale Ngawagurrawa curated the Songlines show, now at Plymouth. Huhana Smith works on Maori land projects.Show moreDownloadChoose your fileHigher quality (128kbps)Lower quality (64kbps) Release date:02 November 2021 (accessed 3/12/24)

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BBC Radio 4 - Arts & Ideas, Oceans, art and pacific poetry

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From coral reef sculptures to creation sagas of Australia and attitudes to land and sea.

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Carl Andre | 10 x 10 Altstadt Copper Square | 1967, The Guggenheim Museums and Foundation,  Copper, Dimensions100 units, 3/16 x 19 11/16 x 19 11/16 inches (0.5 x 50 x 50 cm) each; 3/16 inches x 16 feet 5 inches x 16 feet 5 inches (.5 x 500 x 500 cm) overall, article by Cornelia Lauf (accessed 3.12.24)

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Carl Andre | 10 x 10 Altstadt Copper Square | The Guggenheim Museums and Foundation

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Learn about this artwork by Carl Andre in the Guggenheim’s Collection Online.

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Make Your Own Organic Natural Yellow Dye, (accessed 3.12.24)

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Thinking about making natural yellow ink for Project 2

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Make Your Own Organic Natural Yellow Dye

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If you like to work with textiles and make your own dyes, learn how to make natural yellow fabric dyes from 38 different plants.

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Doris Salcedo, Shibboleth 1, 2007, Tate Modern (accessed 4.12.24)

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Nandalal Bose, , Krishna and Subal First Meeting Radha, 1945, Tempera on wooden panel, 59.7 x 29.2cm (accessed 4.12.24)

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Krishna and Subal First Meeting Radha is a Tempera Painting created by Nandalal Bose in 1945. The image is used according to Educational Fair Use, and tagged Deities and Gods.

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John Singer Sargent, Carnation, Lily, Lily, Rose, 1885–6, Oil paint on canvas, support: 1740 × 1537 mm frame: 2185 × 1970 × 130 mm , Tate (accessed 4.12.24)

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Frederic, Lord Leighton PRA - Flaming June (detail), 1895, Oil on canvas. 119.1 x 119.1 cm, Museo de Arte de Ponce, Puerto Rico; The Luis A. Ferré Foundation, Inc,  (accessed 4.12.24)

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Ephemeral installations incorporate melting candles, felled trees, ageing fruit and decomposing flowers, but the showstopper is a mighty felled ash that dominates an entire gallery