Exhibition i saw recently at Aberfeldy. 

The exhibition is about a romance between two imagined characters, a botanist and a dressmaker.

“My work is primarily about imagined glimpses of others lives, memories and secrets, torn fragments, hidden layers, intimate hisories, often using the theme of quilts, journals and manuals as a vehicle.  I wish to convey something of this secrecy and mystery in my work”.


I really like this idea of an imagined relationship between two people, or the idea of an imagined life.


I came across her photography last year while studying the Young British Artists and forgot how much i love it



Gerhard Richter is one of Germanys most influential artists.

Richter creates his works by building up lots of layers. He also creates a lot of his paintings from photographs, even painting on top of them.


Abstraktes Bild, 1988

Abstraktes Bild 742-2, 1991

I love his use of colour in these paintings, really bold and vivid.


Sigmar Polke














Dispersion on printed fabric



Mixed media on fabric


Like how Polke experiments with different media, creates really interesting unusual pieces.

Naum Gabo was a prominent Russian sculptor born on the 5th of August 1890.  He was a pioneer of kinetic art and played a big part in the Constructivism movement. Gabo studied medicine, natural science and engineering at Munich University. After transferring in 1912 to an engineering school in Munich, he discovered abstract art.  His engineering career was key to the development of his sculptural work.



Construction in Space with Crystalline Centre 1938 -1940

Linear Construction No 2 – 1970 -1971




Futurism was a modern art movement originating in Italy at the beginning of the 20th century.  

In 1909, poet and editor, Fillipo Tommaso Marinetti, publisher of literary magazine Poesia (Milan), announced the movement of Futurism in a belligerent manifesto published on the front page of the Paris newspaper Le Figaro. The term ‘Futurism’ caught the imagination of writers and artists all over the world, as did Marinetti’s insistence that the artist turn his back on past art and conventional procedures to concern himself with the vital, noisy life of the burgeoning industrial city.

Futurism was a largely Italian and Russian movement, although it also had adherents in other countries.

Futurism was a celebration of the machine age, glorifying war and favouring the growth of fascism. Futurist painting and sculpture were especially concerned with expressing movement and the dynamics of natural and man-made forms.

Some of these ideas, including the use of modern materials and technique, were taken up later by Marcel Duchamp, the cubists, and the constructivists.


Unique Forms of Continuity in Space 1913 – Umberto Boccioni

The Futurists explored every medium of art, including painting, sculpture, poetry, theatre, music, architecture and even gastronomy. Marinetti summed up the major principles of the Futurists, including a passionate loathing of ideas from the past, especially political and artistic traditions. He and others also espoused a love of speed, technology, and violence. The car, the plane, the industrial town were all legendary for the Futurists, because they represented the technological triumph of people over nature.

Futurists repudiated the cult of the past and all imitation, praised originality, “however daring, however violent”, bore proudly “the smear of madness”, dismissed art critics as useless, rebelled against harmony and good taste, swept away all the themes and subjects of all previous art, and gloried in science.

In 1910 and 1911 the Futurist employed the technique of divisionism, breaking light and colour down into a field of stippled dots and stripes, which had been originally created by French painter Georges-Pierre Seurat. Severini, who lived in Paris, was the first to come into contact with Cubism and following a visit to Paris in 1911 the Futurist painters adopted the methods of the Cubists. Cubism offered them a means of analyzing energy in paintings and expressing dynamism.


Perspective drawing from La Citta Nuova, 1914 – Antonio Sant’Elia.

Futurism attracted a number of architects, one of them being, Antonio Sant’Elia, who joined forces with the Futurists in 1914. Though he built little throughout his life, Sant’Elia translated the Futurist vision into bold urban form.

Futurist architecture is characterized by anti-historicism and long horizontal lines suggesting speed, motion and urgency.


 Cathedral of Brasília 1970 – Oscar Niemeyer






Oriental Pearl Tower 1991 – 1995 – Jia Huan Cheng

The Futurist principle of “dynamism” as an expressive means, the painters’ emphasis on process rather than on things, and their emphasis upon the intuition and its power to synthesize the manifold experiences of sense and memory had profound effects on other movements: the Constructivists and their various branches, the English Vorticists, Dada and Surrealism.

By the end of 1914, the first phase of Futurism was drawing to a close. With Italy’s entry into the war in 1915, an event ardently promoted by Marinetti and his fellows, all effective artistic activity ceased.


Louise Berliawsky Nevelson  was a Ukranian-born American artist born in 1899. Nevelson was one of the most important American sculptors of the twentieth century

Nevelson is known for her abstract expressionist “boxes” grouped together to form a new creation. She used found objects or everyday discarded things in her ‘assemblages’ or assemblies, one of which was three stories high: ”When you put together things that other people have thrown out, you’re really bringing them to life – a spiritual life that surpasses the life for which they were originally created”.


Untitled 1950



Louise Nevelson, Night Leaf, plexiglas sculpture, 1969, Smithsonian American Art Museum

Night Leaf    1969   –   Plexiglass


Lucas Samaras is an artist from greece born in 1936. Samaras previously worked in painting, sculpture, and performance art, before beginning work in photography. ed room environments that contained elements from his own personal history. His “Auto-Interviews” were a series of text works that were “self-investigatory” interviews. The primary subject of his photographic work is his own self-image, generally distorted and mutilated. He has worked with multi-media collages, and by manipulating the wet dyes in Polariod photographic film to create what he calls “Photo-Transformations.

Samaras has created many sculptures based on chairs, i find them really interesting to look at.


Wire Hanger Chair (Bride and Groom)



The Mirrored Room 1966

I think this looks absolutely amazing. nuff said.

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