Collection: PART ONE

Börner Project

Description

We focused mainly on different types of idea developments and material and media development stepping outside the box and creating something we usually wouldn't. Through various mark making methods used by Petra Borner such as cutting, the use of markers, pens, inks, tearing, positive and negative, etc.

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Process

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Final Outcome

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Bibliography Referencing

http://petraborner.com

Petra Börner grew up in Sweden with artistic ambition, drawing inspiration from her great grandfather- an entrepreneur, keen painter and photographer. Being from a supportive family of doctors, she got her first commission illustrating medical journals.

Having gained skills assisting illustrators in the early 90’s, an urge to engage with art in new mediums brought her to London to study fashion at Central St Martins. She started getting commissioned by design-led publications like Elle & Vogue.

She assisted Sherald Lamden, an eye opening time bridging art, music & fashion. She realised her real passion was in art, exhibitions followed.

With entrepreneurial drive she created fashion/ accessory brands Rosetta & Bo-bags in the early 2000’s. Later turning her attention to paper goods and teamed up with StudioThomson to create the Cosmos range of paper products.

Atelier is a showcase for Börner’s art. She explores her work through a wide range of media- the last few years also as ceramics.

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Royal Swedish Opera 

"Sommar"

2013

Website and poster

 

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Timothy Taylor Gallery//Eduardo Terrazas

Timothy Taylor is proud to present the first solo exhibition in the UK by acclaimed Mexican artist Eduardo Terrazas. 

Traversing the disciplines of architecture, design, art and curatorship, one of Terrazas’s fundamental concerns throughout his longstanding career has been our relationship with the universe and its infinite possibilities. In his artistic practice, this is most poignantly realised in the ongoing project, Possibilities of a structure, which is based on a geometric structure that is transformed through endless variations. The exhibition comprises four distinct series from this project.

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A really simple yet intricate piece which has a lot of consideration of placements and shapes. The simple addition of blue really highlights the shapes.

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http://www.somersethouse.org.uk/visual-arts/elbulli-ferran-adria-and-the-art-of-food

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Adrià said of the Somerset House show: “Even though the restaurant of elBulli is now closed, the spirit of elBulli is still very much alive and this exhibition is one of the ways of keeping it so.  For some, I hope it will revive good memories, and for others it will give a flavour of a fine dining experience like no other.  Overall, it is an ode to the creativity, imagination, innovation, talent and teamwork of everyone at elBulli, but especially the world-famous chefs who trained with us and took these values into their own restaurants around the world.

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Jessica Stockholder

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Once Upon a Time

2014

Site Specific Installation

plastic, paint, driveway mirrors, stools, carpet, chain/ airline cables,rolling staircase, resin, extension cords, lights, mixing bowl/ lamp shade dimensions variable / site specific installation

This piece really grabbed my attention when I had to research Jessica Stockholder. I found that this piece stretches vertically 50 ft. high in response to the specific architecture of the building. In person this piece would be amazing as the selection of materials and placement of colour really demoralised the actual object and just becomes nothing that really works as an art installation.

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Walter Pfieffer

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Orpheus Descending

2000/2001

Photograph

After researching into this collection of images I found the process of Walter Pfeiffer quite interesting. "Using three still cameras, they followed the birds’ lives twenty-four hours a day: beginning with incubated eggs purchased from a local supplier, through hatching at around seventeen days, to the flock’s move to its outdoor pen, and ending when the chickens reached adulthood". 

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Four Horseman Of The Apocalypse

2000/2002

Photograph 

"One of the techniques Paul Pfeiffer employs in his sculptures, videos, and photographs is the creation of more or less obvious areas of erasure or camouflage. He uses mass-media images such as photos of film, sports, and show-business celebrities as his starting point, assured that the viewer can call up the original image from memory and will thus realize what is missing."

 

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Own Referencing

Kathryn del Barton

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All Ways

2010

synthetic polymer paint, gouache, watercolour & ink on polyester canvas

163.0 x 200.0 cm

When I heard of this project I initially thought of Kathryn Del Barton from her use of colour and pattern in an aesthetically pleasing way. The colour selection and placement of pattern really inspired me to include layering and a variation of mark making.

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Hugo

2013

watercolour, gouache and acrylic on canvas

200 x 180 cm

This piece is really beautiful with the contrast of colour against the heavily detailed background of mark making (stippling) with the simple yet intricate illustration of actor Hugo Weaving.

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For The Feeling

2011

acrylic, gouache, watercolour and ink on polyester canvas


240 × 360cm

This piece has a loot going on but yet is quite simple in layout. Her colour selection is heavy but compliments each other which is something I would love to achieve. The mark making approach Kathryn Del Barton has really inspired me to create and use these techniques within my own work.

 

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Frank Gehry-Walk Disney Concert Hall

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Completed October 23, 2003, The Walt Disney Concert Hall celebrates its tenth anniversary today. Home to the LA Philharmonic, it has received wide acclaim for its excellent acoustics and distinctive architecture. In the decade since its opening, the hall's sweeping, metallic surfaces have become associated with Frank Gehry’s signature style.

The concert hall was designed as a single volume, with orchestra and audience occupying the same space. Seats are located on each side of the stage, providing some audience members with distant views of the performers’ sheet music. The former director of the Los Angeles Philharmonic felt boxes and balconies implied social hierarchies within the audience, and spatial segregation was minimized in the design. Curvilinear planes of Douglas fir provide the only partitions, delineating portions of the 2,265 member audience without creating visual obstructions. The steel roof structure spans the entire space, eliminating the need for interior columns. The organ stands at the front of the hall, a bouquet of 6,134 curved pipes extending nearly to the ceiling. It is the unique result of a collaboration between Gehry and Manuel J. Rosales, a Los Angeles-based organ designer. 

 

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