Saturday, 28 February 2009
Friday, 27 February 2009
In doing these things I sometimes think of Christopher Alexander's "The Nature of Order". I have only read the first book, and that took quite a while. Perhaps sometime I will give my reactions - for what they may be worth - on his theory. Anyway, the patterns I develop are initially done without concern for obvious aesthetic, but as I begin to adjust and slightly re-arrange things, some of his comments about pattern, repetition and flow do come to mind. Although I wish they would not. They interrupt the flow of what I am trying to do - be spontaneous - too much. Too much theory gets in the way, unless it can be so woven into practice that it is instinctive.
Monday, 23 February 2009
However there are other windows of interest too. So before cleaning up my pictures of the Webster windows still installed, I would like to show some of the other windows. The church because of its orientation has no East Window, and so in unusual. The West window, over the (now disused) entrance to the church faces onto the River Kelvin and so is open with no buildings to diminish the light. It is a very formal affair, possibly installed at the time of building, and does not take advantage of the amount of light that is available in the evenings.
As you can see it has a lot of formal grisaille with three figures.
And I am sure someone will tell me who this is on the right.
These are windows typical of the period just before the aesthetic movement began about 1870. Formal decorative elements with little narrative or drama are typical of the period.
Saturday, 21 February 2009
The reason for bringing this to your attention is that I have worked on both of the buildings featured in the main picture on the front of the leaflet. I first worked on the bow with the lantern above in 2005 and the house next door, of which you can see only part of the bow, two years later.
These leaflets were prepared by the Friends of Glasgow West with assistance from the Glasgow City Heritage Trust and Lottery funding. Further information about the leaflets can be obtained from Ann Laird
Thursday, 19 February 2009
This now occupies the fanlight over a door, although it started life as two separate "Peep-overs" as those in the West of Scotland often call these privacy panels that were often installed at the bottom of ground floor windows. This reduced direct vision into the house. Possibly because we have so few sunny days, we like to keep our curtains open at all hours. In the spring and autumn, you can have great entertainment just walking along the street and looking in at the interior decorations of the houses.
In this case these had been removed from the original house and purchased by my client's sister. The object was to adapt the pieces that had curved tops to the fanlight opening and put a red border round the whole. I am pleased with the result and, more importantly, so is the client
Tuesday, 17 February 2009
Sunday, 15 February 2009
Some of you may have noticed a deterioration in the quality of the pictures here. This is due to my discovery that a number of downloads of pictures from this blog has been occurring. So to reduce the quality of the download results for those who wish to make use of the pictures, has meant a reduction in the quality of the images presented to you here.
Friday, 13 February 2009
I have used two variations of a simple sinuous form. One tapers at the ends, and the other is square cut. This first version with the tapered form seemed destined to be arranged on a circular form and represent to me the repetition of a dance movement.
By combining shapes from different ends of the sheet, a vairation in tone was achieved. Again, the platter's shape needed to reflect the interior, but in a slightly different way.
This series of pieces is providing me with enjoyment and a distinct way of working. It goes from the choice of a simple shape or pattern and grows outward in a playful manner toward an expression of a external but un-realised world.
Wednesday, 11 February 2009
Monday, 9 February 2009
I took the theme a bit further, by selecting a piece of glass with a strong line running through it, providing a stem like structure for the forms to align to. So this has provided:
Plant Form 2
Saturday, 7 February 2009
I began an exercise of using "parts" to make up the designs. In these I took the shapes of some leaves and cut a number, leaving the decision of how to place them until a required number had been cut. The number required was determined by tossing each one as cut onto the base glass providing an almost random pattern. Of course, I could not resist arranging a few in a better way! The first reminds me of the current scene out doors. There is greenery around, but frost on the ground. These brown leaves have a reminder of frost on their surfaces.
Using the same leaf shapes, I continued to cut and distribute the shapes over the base glass. This time, I varied the colours of the shapes and added some shading.
This exercise has provided a couple of pleasing square platters and begins to lead me away from the rigid requirements of restoration, repair and reproduction.
Thursday, 5 February 2009
Sunday, 1 February 2009
I must be better at writing these things than I thought. The proposals were judged on the basis of up to six images of past work and the written proposal. My proposal was:
Working Title: “Is She Safe To Travel In?”
Migration removes the sense of place that people grow up with. It changes their sense of identity as they attempt to fit with their new environment.
The boat shape is a traditional symbol of hope for migrants. It takes them to new lands. It removes them from their origins and takes them to another where they hope for a different and maybe better place. It does not always work.
It is a symbol of the migration of not only people, but of goods and materials often from less wealthy parts of the world to the most wealthy. The materials migrate not only in place, but in often in shape and in function.
The shape also is a symbol of our migration from conception to life.
In all these the shape represents a dark anticipation of an uncertain future.
The boat shape will be a dark rough top surface with polished sides showing dark veils penetrating the hull. It will be set on the boat builder’s forms on the slipway waiting to be launched.
The boat will be cast in a press mould. Dark frit on the surface will form the veils as it moves with the cullet to form the solid hull. The hull will be polished to reveal the interior.
The images I submitted were the Australian Bloom, Dream Time 1, and three images I have not shown here before:
Now all I have to do is make it!