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




Imitation, another version, representation


Ideas of beauty, unrepresentable, a sensation of feeling overwhelmed, incomparable

A solitary/ subjecive experience.  Everyone is different so will have strong emotional responses toward different work.



Exploring your own ideas and feelings, projecting your ideas out to the world, provoking thought in others.  Creating work that refelects your ideas and thoughts actively.

“Get to the heart of what is before you and continue to express yourself as logically as possible” – Paul Cezanne

“The expression of beauty is in direct ratio to the power of conception the artist has acquired” – Gustave Courbet

Significant Form

“Only one answer seems possible — significant form. In each, lines and colours combined in a particular way, certain forms and relations of forms, stir our aesthetic emotions. These relations and combinations of lines and colours, these aesthetically moving forms, I call ‘Significant Form’; and ‘Significant Form’ is the one quality common to all works of visual art” – – – Clive Bell

“The starting-point for all systems of aesthetics must be the personal experience of a peculiar emotion”

I think there is a definate link between the sublime and significant form

Both are about subjective feelings towards a piece of art and the overwhelming rush of emotion brought on by that artwork.

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.



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.