tag:blogger.com,1999:blog-16380853567779058102024-03-06T12:02:21.147-08:00Peter NenciniPeter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.comBlogger175125tag:blogger.com,1999:blog-1638085356777905810.post-88893579018902965742017-07-03T23:47:00.001-07:002017-07-03T23:47:51.851-07:00Susan, Sonia<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="text-decoration: underline;">Susan Bosence</span>. "STRIPE and SPOT. (a) Combination of double wax resist twice brush dyed in Soledon blue and brown. Wax removed and paste resisted then brush dyed in dark blue on calico. (b) Wax resist spots, brush dyed in brown, paste resisted and brush dyed in blue. N.B. very labour intensive processes. 1960s."</span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="text-decoration: underline;">Sonia Delaunay</span>. "Project de tapis. Encre de Chine. 35 x 22,5cm."</span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="text-decoration: underline;">S.B.</span> "UNNAMED. Half grains of rice tied and dyed in indigo on silk. N.B. Susan sat sewing this length under a tree near Quir Bajou, her small house in France, one Summer. 1970s."</span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="text-decoration: underline;">S.D.</span><i> "Les Flèches. Encre de Chine. 1923. 27 x 21cm".</i></span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="text-decoration: underline;">S.B.</span> "STRIPE. Double paste resist, twice brush dyed in Soledon green and blue. 1960s."</span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq1yHzI8CNh9-Ua7HJIrqOp2LEs2i0FtMQ4kK4-ZldtBS-sHu0lnziPclrtzCdCpgldfguQzxJLOOLAT_Bz6qlfpLvEPc37j58hta17ES4nj2c_rADEjf6Sc1LmX_g6M1PTqOylEYMs5ik/s1600/Nencini_Delaunay2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><span class="Apple-style-span" style="text-decoration: underline;">S.D.</span><span class="Apple-style-span" style="font-style: italic;"> "Abstraction. Encre de Chine. 1929."</span></span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="text-decoration: underline;">S.B.</span> "SPOT. Twice wax resisted spot, twice dyed in indigo and Caledon brown on fine cotton . (Alan Powers). 1980s."</span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">Here, Susan Bosence and Sonia Delaunay, spliced. One offsetting the other, because this best represents how it is that a working clue can be taken on board — to do with the way treatment, animate hand, careful-careless touch can carry elementary (quite obvious) compositional forms — underneath simply regarding the influence of both.</span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">The Sonia Delaunay drawings are taken from a curious 1978 book subtited 'Dessins: noirs et blancs' and pubished by Jacques Damase and 'Artcurial' of Paris.</span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">The <a href="http://www.vads.ac.uk/learning/learndex.php?theme_id=cscu1&theme_record_id=cscu1bosence&mtri=cscu1text">Susan Bosence</a> samples were photographed during a visit to the <a href="http://www.csc.ucreative.ac.uk/index.cfm?articleid=20211">Crafts Study Centre</a> in Farnham, with a group of eleven friends squeezed in. I emailed (the generous and welcoming) curator Jean Vacher ahead of the day, to ask for a viewing of elements of the collection, such as Barron & Larchers' sample books and Lucie Rie pots.</span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">It was wonderful of course, to feel the hand-weight of Rie's (and Hans Coper's) vessels, as well as to leaf through the aptly named 'elephant' volumes of B & L's samples. </span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">But the revelation was Susan Bosence's sample catalogue. Difficult here to represent the bleeds against the pin-sharp edges but the technical descriptions give some idea of the painstaking skill required to arrive at such acuteness, nuance. I had been reading '<a href="http://www.amazon.co.uk/Hand-Block-Printing-Resist-Dyeing/dp/0715385240">Hand Block Printing and Resist Dyeing</a>' (1985) but not had the sense outside of the mentorship of Phyliss Barron, of what she was achieving discreetly.</span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">A footnote. We also saw the exhibition downstairs of Robin Tanner's collection. He has been discussed, with relation to Marion Richardson, in a previous <a href="http://peternencini.blogspot.co.uk/2012/06/centred-post.html">post</a>. A small quote in the space: "As a boy I had two great longings — to be a teacher and an artist — and I have never wavered".</span></div>
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-1638085356777905810.post-56195413936443341692017-07-03T23:43:00.003-07:002017-07-03T23:43:32.598-07:00WHIPPLE, WAVE MACHINE<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><br /></span><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">A late C19th model to demonstrate how waves move; made by the Elliott Brothers, to a design by Baden Powell ((1796-1860) – the father of Robert, founder of the scout movement). An interactive animation </span><a href="http://www.hps.cam.ac.uk/whipple/explore/flashpages/wavemachine/"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">here</span></a><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">.</span><br />
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><br /></span><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">This — and other explanatory scientific models — can be seen at the seemingly wonderful University of Cambridge </span><a href="http://www.hps.cam.ac.uk/whipple/explore/models/"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">Whipple Collection</span></a><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">. Here — with a linking thought on the 'sculpting' or 'choreography' of sound waves — an unattributed pair of </span><a href="http://www.hps.cam.ac.uk/whipple/explore/acoustics/parabolicsoundmirrors/"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">parabolic sound mirrors</span></a><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">, again late C19th.</span><br />
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">The principles apply through a history of use, from these almost Neolithic, pre-radar wartime sound mirrors (via </span><a href="http://weburbanist.com/2009/12/27/sound-mirrors-before-radar-hearing-was-believing/?ref=search&utm_campaign=googimages&utm_source=images&utm_medium=other"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">Web Urbanist</span></a><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">) to today's satellite dishes.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8OwdJhq7yLFPIxLzMA2_55BqEHyAdnpNZ56SoQ2Beh8PHRKUb4-y3ZSEbSxGcqSg6RTVdvtBOlas19ItiN_4mpWBQjj77GpZPjoVw9f1Kl5tvEZDRCNqWWmke6ADsCW7LR4KASLV1oOQ/s1600/Sound_Mirrors_3a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8OwdJhq7yLFPIxLzMA2_55BqEHyAdnpNZ56SoQ2Beh8PHRKUb4-y3ZSEbSxGcqSg6RTVdvtBOlas19ItiN_4mpWBQjj77GpZPjoVw9f1Kl5tvEZDRCNqWWmke6ADsCW7LR4KASLV1oOQ/s1600/Sound_Mirrors_3a.jpg" /></span></a></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">Some lovely examples collected by Web Urbanist, for example this Czech 'acoustic detector', c. 1920.</span></div>
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-1638085356777905810.post-5251524554556783712017-07-03T00:56:00.003-07:002017-07-03T00:56:49.031-07:00Studies for Reeves Corner, Croydon<div dir="ltr" style="text-align: left;" trbidi="on">
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-1638085356777905810.post-13677103290327728452014-04-18T03:40:00.002-07:002014-04-18T03:40:48.582-07:00The Artist and The Engineer<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">With <a href="http://jameslangdon.net/">James Langdon</a>, <a href="http://www.on-curating.org/index.php/issue-19-reader/artist-curator-gavin-wade-on-authorship-curating-at-eastside-projects-and-the-post-industrial-city.html">Gavin Wade</a>, <a href="http://www.stuartwhipps.com/">Stuart Whipps</a> – for <a href="http://eastsideprojects.org/">Eastside Projects</a>. More </span><a href="http://eastsideprojects.org/shop/users-manual-draft-6/"><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">here</span></a><span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">. Notes to come.</span></div>
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-1638085356777905810.post-3146799360457148682014-04-09T00:45:00.001-07:002014-04-09T00:45:16.476-07:00Apparatus<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;"><span class="Apple-style-span" style="color: black;">Albrecht Dürer – Melencolia (1514).</span></span></div>
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">"Cosmonaut Alexander Y. Kaleri, Expedition 8 flight engineer, practises docking procedures with the manual TORU rendezvous system in the Zvezda Service Module on the International Space Station" (via).</span><br />
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-1638085356777905810.post-46160715018558615612013-08-26T09:51:00.000-07:002013-08-26T10:04:20.199-07:00Limner: the stick that moved on its own<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Courier New, Courier, monospace;">A work just published in the third issue of <a href="http://limner-journal.eu/">Limner</a> – a critical journal of illustration by <a href="http://studiooperative.tictail.com/">Studio Operative</a>, designed by <a href="http://www.traven-t-croves.co.uk/Info">Traven T. Croves</a>. More on the issue's theme below. This pieces reprises a title 'the stick that moved on its own' (used in a previous work) because I'm not yet done with its connotations.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">The phrase is excerpted from 'Woodland Animals', a book for young children published by Golden Pleasure Books in 1967. The copy I have was found in a cupboard in a cottage on the coast of County Down, Northern Ireland. The tales of a young hare, beautifully illustrated by Paul Durand, are suffused with account of the substance of the wood from a small mammal's perspective.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyTpASLrNEF2psOIHUD2cNxacQPyUEBbdBLmEr3bn8BzLo-L_sCFxR4pSC9KYze2zxiKpftkHA5SCC9NiPoIXCSqZdzynfnSjXtBKz-Vn_cHw7ElD0KWBN71XRivyR2stxU5-bxJlmWF57/s1600/Nencini_Limner_3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyTpASLrNEF2psOIHUD2cNxacQPyUEBbdBLmEr3bn8BzLo-L_sCFxR4pSC9KYze2zxiKpftkHA5SCC9NiPoIXCSqZdzynfnSjXtBKz-Vn_cHw7ElD0KWBN71XRivyR2stxU5-bxJlmWF57/s400/Nencini_Limner_3.jpg" width="400" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;">The negotiation of damp moss, scaffolded twigs at close quarters gives a claustrophobic, thingly aspect to the narrative and it is this I wanted as a spur. A point at which a topological mumbling and stammering (hence the twice-attempted spread compositions) supercedes the linear text. Didn't the <a href="http://www.enidblytonsociety.co.uk/faraway-tree.php">Faraway Tree</a> 'wisha-wisha' something similar?</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrwosr-za-UDIiYUbP8r4O_jVA3Qg5Vi4HHvF621KyOcXCWd1nOqtzbyRc2Lu8w35XFCD9Azs5JOBz3dnUt6xImzFZnTK0uw5J74sa-97sUDcwqle82WzamJ_bliTHm12p345vbxW67rfM/s1600/Nencini_Limner_4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrwosr-za-UDIiYUbP8r4O_jVA3Qg5Vi4HHvF621KyOcXCWd1nOqtzbyRc2Lu8w35XFCD9Azs5JOBz3dnUt6xImzFZnTK0uw5J74sa-97sUDcwqle82WzamJ_bliTHm12p345vbxW67rfM/s400/Nencini_Limner_4.jpg" width="400" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;">The other core ingredient has been to account for an adolescent life spent on the belt of pastoral and municipal. So the object-palette is out-of-town retail – prodded, lashed to satisfy a shaky, tender, herbarial urge. Service scree.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Loathe to offer a viewpoint on critical illustration, so proximate to contributing a piece of work. </span></div>
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<span style="font-family: Courier New, Courier, monospace;">I will say, though, that an altered or developed discourse can only occur if the form is altered – not by talking in a new way about the same thing. This includes the form of the writing, which after all orbits a discipline whose kinship to text is rooted more in the fictional, the speculative. </span></div>
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<span style="font-family: Courier New, Courier, monospace;">The slotting, lamination, splicing, superimposition, counterpoint of written and imaged in a one-plus-one-equals-good-one complicity asks the words to muck in on a renewal of form. So it good, for example, to see <a href="http://jigglingatoms.org/news/i-science-interview-with-malte-oppermann/">Dr. Malte Oppermann</a> and <a href="http://jigglingatoms.org/artist/rosie-eveleigh/">Rosie Eveleigh</a>s' piece on the imaging of electrons.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Alice Lindsay, Peter Willis and Miriam Elgon are on their third issue and each one is edging further towards a reflexive form and argument.</span></div>
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-1638085356777905810.post-28758485500790434482013-07-20T04:32:00.001-07:002013-07-20T04:32:17.619-07:00One on One<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRjHLq9p94_kuo_lOi209FfrflFnRKGQg4qeQVHKvTi9r1axbucLhAEPIeAhRg2CqsFS5lvJie9MVb1JRvt-1p2rkKu3R20-A-VQIWwy0LNNGAT47_MLRYFuoHAag6Ih-UplV2ebbwFmv2/s1600/8578100490_f1e42abfa7_z.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRjHLq9p94_kuo_lOi209FfrflFnRKGQg4qeQVHKvTi9r1axbucLhAEPIeAhRg2CqsFS5lvJie9MVb1JRvt-1p2rkKu3R20-A-VQIWwy0LNNGAT47_MLRYFuoHAag6Ih-UplV2ebbwFmv2/s640/8578100490_f1e42abfa7_z.jpeg" width="426" /></a></div>
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<span style="font-family: 'Courier New', Courier, monospace;">Stefan Klos' 'keeper jersey, Borussia Dortmund 1992-3, </span><a href="http://www.flickr.com/photos/ricardopiske/8578102012/" style="font-family: 'Courier New', Courier, monospace;">via</a><span style="font-family: 'Courier New', Courier, monospace;">.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6yDZFjSvRaNQYLWcatu4rS4hNBBE8yBEnyVkOSMYZP2k8B725nWrmk6ItI-X0vSVksyUj1n_5bDrDurS9SLYCG7ZkMGbb_YQy6jtiDyewYxrFTrmTJq0P9Wn85BK30MyClY3OuEXQtbFx/s1600/$(KGrHqZ,!qwFG7I4FHeHBR37UoSkBw~~60_12.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6yDZFjSvRaNQYLWcatu4rS4hNBBE8yBEnyVkOSMYZP2k8B725nWrmk6ItI-X0vSVksyUj1n_5bDrDurS9SLYCG7ZkMGbb_YQy6jtiDyewYxrFTrmTJq0P9Wn85BK30MyClY3OuEXQtbFx/s640/$(KGrHqZ,!qwFG7I4FHeHBR37UoSkBw~~60_12.jpeg" width="480" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;">C&A Rodeo cycling jersey, I guess also circa early 1990s, <a href="http://www.ebay.co.uk/itm/424F-VTG-RODEO-NUMBER-1-YELLOW-PINK-BLUE-FUNKY-BRIGHT-TEAM-CYCLING-JERSEY-S-/310705003890">via</a>.</span></div>
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-1638085356777905810.post-72367987074597242032013-07-18T03:13:00.003-07:002013-07-18T03:23:41.844-07:00Engrailed, Invected, Embattled, Indented<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: 'Courier New', Courier, monospace;">Imi Knoebel's </span><i style="font-family: 'Courier New', Courier, monospace;">Messerschnitte</i><span style="font-family: 'Courier New', Courier, monospace;"> silkscreen print series (1977-93). </span><span style="font-family: Courier New, Courier, monospace;">I'm beginning work on a second collaboration with <a href="http://jameslangdon.net/">James Langdon</a> (news on the first — Eastside Projects Manual Draft #6 — to come). Not too much detail at the moment but the context is a performance of sorts; and the work, a costume which part-transforms into an architectural model. At the moment, it feels productive to interleave and loop references, this time in a cycle of five.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Partition line variants with shield fields, from <i><a href="http://www.gutenberg.org/files/41617/41617-h/41617-h.htm">A Complete Guide to Heraldry</a> </i>(1909) by Arthur Charles Fox-Davies, with illustrations by Graham Johnston. The performed building of the 'model' may be considered a stratification. There is a correspondence here, between a geological-sequential and a municipal-hierarchical stack.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Untitled, undated (c. 1970) Běla Kolářová make-up drawing, as seen at <a href="http://www.ravenrow.org/exhibition/bela_kolarova/">Raven Row</a> earlier this year. A gestural inventory, with some dialectic between angst and whimsy brought about by the use of make-up as medium.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">The palette will (I think) pull on royal blue and yellows that argue between themselves – from hazard fluos to just something just shy of ochre. Black as line and punctuation point. This arrives out of melting in the pot Leipzig's civic colours (more explanation another time), a Scandinavian retailer, the notion of an 'away kit', hi-viz bib 'n' brace, yellow jersey,...</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Nomograph for the prediction of a four-hour sweat loss, from cabin thermal environment studies by <a href="http://msis.jsc.nasa.gov/sections/section05.htm">NASA</a>. Performance, within constrained spatial, gravitational conditions and durations. Interested by the intimacy of this data, for something of a slow spectacle.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Imi Knoebel, again.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFcdsCQGo-BK0qGT0SYYQNkMZriilPPAUE4Kyk87iUpqr1pGqYGI9tfetNe-h7xBa184WvWXjreBJA0X19yQualILrSVlSnLPCtvGXwF09Yts0a2CssueeMMvsiVoD_SM1gjggzFDyfBxb/s1600/Heraldic+hatching.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFcdsCQGo-BK0qGT0SYYQNkMZriilPPAUE4Kyk87iUpqr1pGqYGI9tfetNe-h7xBa184WvWXjreBJA0X19yQualILrSVlSnLPCtvGXwF09Yts0a2CssueeMMvsiVoD_SM1gjggzFDyfBxb/s1600/Heraldic+hatching.png" /></a></div>
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<span style="text-align: justify;"><span style="font-family: Courier New, Courier, monospace;">Monochromatic print process solution for heraldic <a href="http://oxforddictionaries.com/definition/english/tincture">tinctures</a> – "the system of hatching used by Marcus Vulson de la Colombière, 1639", again from <a href="http://www.gutenberg.org/files/41617/41617-h/41617-h.htm">A Complete Guide to Heraldry</a>.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVB3DcgrzRHcdnIp8YlbSprD8sDH6TAPaaTDTjJjvBphZA4xIcUPHMNAA-LQCXdcm27sc3g5z2Gor2PNYpiAlvLEVx8KS1nN3GODX246DHwyk57SUc4f9a72NWU-59O78c_J53y4aaqXbN/s1600/tumblr_lm2zpcq9ma1qbz13no1_r1_1280.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVB3DcgrzRHcdnIp8YlbSprD8sDH6TAPaaTDTjJjvBphZA4xIcUPHMNAA-LQCXdcm27sc3g5z2Gor2PNYpiAlvLEVx8KS1nN3GODX246DHwyk57SUc4f9a72NWU-59O78c_J53y4aaqXbN/s640/tumblr_lm2zpcq9ma1qbz13no1_r1_1280.jpeg" width="491" /></a><span style="clear: left; float: left; font-family: 'Courier New', Courier, monospace; margin-bottom: 1em; margin-right: 1em; text-align: left;">Běla Kolářová</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ4Beuc4Bw7GOqAtjegTJkEFRcCGNZ0-bP62mEpgKC5Z1fkJMPINBG3Enda-7MHf5TOqJI9Y8M0naM27dA1lzXWT-1ES10G9QRGZkHu2h-R3KCGyihocNzuUypVkG-xmRoO2Z_ItrQGbNS/s1600/chaussure-trail-gram-am-gt-homme-haglofs-jaune-500x500.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ4Beuc4Bw7GOqAtjegTJkEFRcCGNZ0-bP62mEpgKC5Z1fkJMPINBG3Enda-7MHf5TOqJI9Y8M0naM27dA1lzXWT-1ES10G9QRGZkHu2h-R3KCGyihocNzuUypVkG-xmRoO2Z_ItrQGbNS/s1600/chaussure-trail-gram-am-gt-homme-haglofs-jaune-500x500.jpeg" /></a></div>
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<span style="font-family: Courier New, Courier, monospace;">The plastercasty redoubling of surface expression that comes with a one-colour anything product. </span></div>
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<span style="font-family: Courier New, Courier, monospace;">"Anatomical dimensions for the design of body waste management facilities", again from NASA.</span></div>
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-1638085356777905810.post-40839636656905683622013-07-09T05:47:00.000-07:002017-07-03T23:46:51.577-07:00Susan, Sonia<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span"><span class="Apple-style-span" style="text-decoration: underline;">Susan Bosence</span>. "STRIPE and SPOT. (a) Combination of double wax resist twice brush dyed in Soledon blue and brown. Wax removed and paste resisted then brush dyed in dark blue on calico. (b) Wax resist spots, brush dyed in brown, paste resisted and brush dyed in blue. N.B. very labour intensive processes. 1960s."</span></span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span"><span class="Apple-style-span" style="text-decoration: underline;">Sonia Delaunay</span>. "Project de tapis. Encre de Chine. 35 x 22,5cm."</span></span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span"><span class="Apple-style-span" style="text-decoration: underline;">S.B.</span> "UNNAMED. Half grains of rice tied and dyed in indigo on silk. N.B. Susan sat sewing this length under a tree near Quir Bajou, her small house in France, one Summer. 1970s."</span></span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="text-decoration: underline;">S.D.</span><i> "Les Flèches. Encre de Chine. 1923. 27 x 21cm".</i></span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="text-decoration: underline;">S.B.</span> "STRIPE. Double paste resist, twice brush dyed in Soledon green and blue. 1960s."</span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq1yHzI8CNh9-Ua7HJIrqOp2LEs2i0FtMQ4kK4-ZldtBS-sHu0lnziPclrtzCdCpgldfguQzxJLOOLAT_Bz6qlfpLvEPc37j58hta17ES4nj2c_rADEjf6Sc1LmX_g6M1PTqOylEYMs5ik/s1600/Nencini_Delaunay2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><span class="Apple-style-span" style="text-decoration: underline;">S.D.</span><span class="Apple-style-span" style="font-style: italic;"> "Abstraction. Encre de Chine. 1929."</span></span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="text-decoration: underline;">S.B.</span> "SPOT. Twice wax resisted spot, twice dyed in indigo and Caledon brown on fine cotton . (Alan Powers). 1980s."</span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="text-decoration: underline;">S.D.</span><i> "Projet pour une des premières publicité au Néon".</i></span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;"><span class="Apple-style-span" style="text-decoration: underline;">S.B.</span> "UNNAMED. (a) Pin block wax resist dyed in Caledon red on poplin. (WSCAD 1983)."</span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">Here, Susan Bosence and Sonia Delaunay, spliced. One offsetting the other, because this best represents how it is that a working clue can be taken on board — to do with the way treatment, animate hand, careful-careless touch can carry elementary (quite obvious) compositional forms — underneath simply regarding the influence of both.</span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">The Sonia Delaunay drawings are taken from a curious 1978 book subtited 'Dessins: noirs et blancs' and pubished by Jacques Damase and 'Artcurial' of Paris.</span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">The <a href="http://www.vads.ac.uk/learning/learndex.php?theme_id=cscu1&theme_record_id=cscu1bosence&mtri=cscu1text">Susan Bosence</a> samples were photographed during a visit to the <a href="http://www.csc.ucreative.ac.uk/index.cfm?articleid=20211">Crafts Study Centre</a> in Farnham, with a group of eleven friends squeezed in. I emailed (the generous and welcoming) curator Jean Vacher ahead of the day, to ask for a viewing of elements of the collection, such as Barron & Larchers' sample books and Lucie Rie pots.</span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">It was wonderful of course, to feel the hand-weight of Rie's (and Hans Coper's) vessels, as well as to leaf through the aptly named 'elephant' volumes of B & L's samples. </span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">But the revelation was Susan Bosence's sample catalogue. Difficult here to represent the bleeds against the pin-sharp edges but the technical descriptions give some idea of the painstaking skill required to arrive at such acuteness, nuance. I had been reading '<a href="http://www.amazon.co.uk/Hand-Block-Printing-Resist-Dyeing/dp/0715385240">Hand Block Printing and Resist Dyeing</a>' (1985) but not had the sense outside of the mentorship of Phyliss Barron, of what she was achieving discreetly.</span></div>
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<span class="Apple-style-span" style="font-family: "courier new" , "courier" , monospace;">A footnote. We also saw the exhibition downstairs of Robin Tanner's collection. He has been discussed, with relation to Marion Richardson, in a previous <a href="http://peternencini.blogspot.co.uk/2012/06/centred-post.html">post</a>. A small quote in the space: "As a boy I had two great longings — to be a teacher and an artist — and I have never wavered".</span></div>
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-1638085356777905810.post-62554441302866188832013-03-25T17:55:00.000-07:002013-03-25T17:56:18.096-07:00Eastside Adhocisms<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Courier New, Courier, monospace;">Studies for an in-progress collaboration with <a href="http://jameslangdon.net/">James Langdon</a>, for <a href="http://www.eastsideprojects.org/">Eastside Projects</a>. James, in conversation with co-director Gavin Wade on "layering and counter-positioning" — with mention of the project — in the current issue of <a href="http://www.curamagazine.com/?page_id=65">Cura</a> magazine. More soon.</span></div>
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com1tag:blogger.com,1999:blog-1638085356777905810.post-7616054772490027522013-02-04T07:11:00.000-08:002013-02-04T07:12:51.796-08:00Secondment, Progress<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXRUCmMhtcrPUFR_UWNZFAQ37eku9_TZv6qcx4GRGvaYlpf0_37x1wN5yfwpW3gflGfFaB4_2PyhMToMNuOLTdZdafmS1kDzxip53L90Q22y7qnvNlOLDvJCL2rZ1gIU-VTurinUceQS4R/s640/Nencini_Beg_NYC_8.jpg" width="448" /></span><span style="clear: left; color: black; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><span style="font-family: Courier New, Courier, monospace;">In the throes of studio work, preparing 'Secondment', opening at <a href="http://www.beginnings-nyc.com/">Beginnings NYC</a> on 21 February. More documentation, detail soon.</span></span><span style="clear: left; color: black; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><span style="font-family: Courier New, Courier, monospace;"><br /></span></span></div>
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com2tag:blogger.com,1999:blog-1638085356777905810.post-12809255627875905402012-12-08T03:09:00.001-08:002012-12-08T03:09:11.182-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-1638085356777905810.post-28540487672027353192012-12-07T16:36:00.002-08:002012-12-07T16:36:45.918-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-1638085356777905810.post-91334725301232423302012-12-07T15:56:00.001-08:002012-12-07T15:56:12.143-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-1638085356777905810.post-8592802583594750012012-12-07T12:25:00.002-08:002012-12-07T12:25:46.388-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-1638085356777905810.post-62489425687035144242012-12-07T10:39:00.001-08:002012-12-07T10:39:45.713-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-1638085356777905810.post-69046257479581918212012-12-03T14:42:00.003-08:002012-12-03T14:42:26.312-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-1638085356777905810.post-13413503124034151732012-12-03T05:23:00.002-08:002012-12-03T05:27:07.107-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-1638085356777905810.post-26363908970267217222012-12-03T02:22:00.001-08:002012-12-03T07:44:47.623-08:00Worrying Something Into Shape<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Courier New, Courier, monospace;">A junction point, with the need to establish some logic for a larger set of works in fabric. Here in this space, I'm hovering too much over each sentence — each postable image — and enjoying blurted thoughts published elsewhere with a 130 character cap. </span></div>
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<span style="font-family: Courier New, Courier, monospace;">With a new body of work, the chance presents itself to grow a new arm – or flex an unused muscle. In this case, a different kind of mark made. I do not buy the thought that a measured line is less expressive. So this is not to find something more 'authentic' or 'characterful'. It's simply a self-adjustment. A different rhythm — some disturbance — across the surface of what is something edging towards pattern.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">These are natively digital drawings and I do feel the tick to give them another texture which has more physical key. But they are what they are, even if I wince a bit, posting them. Because they are a means to an end, with the translation to appliqué, embroidery and print to come.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">They have some quality I have felt when pinching clay. Worrying something into shape. Graphic hesitancy. That I do want to carry through into fabric. In tension with something more measured at the conjoint between the wobble of these marks and the templated stability of a support – be that a frame, a chair.</span></div>
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com1tag:blogger.com,1999:blog-1638085356777905810.post-76157776354266052732012-12-02T01:24:00.003-08:002012-12-02T01:24:55.036-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-1638085356777905810.post-12305371210225879742012-12-02T01:11:00.002-08:002012-12-03T23:55:06.649-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-1638085356777905810.post-82371591738386945302012-12-02T00:58:00.000-08:002012-12-02T01:00:03.326-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-1638085356777905810.post-40703719606323594052012-12-01T14:09:00.001-08:002012-12-01T14:17:13.564-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-1638085356777905810.post-47587812131732562002012-11-05T00:29:00.000-08:002012-11-05T02:15:50.078-08:00Something to say at St. Bride<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">I am speaking this Friday 9 November at <a href="http://stbride.org/events?show=letterpress_2">St. Bride Library</a>, for the one-day conference <i><a href="http://stbride.org/events/letterpress_2/schedule.html">Letterpress: Something to Say</a>. </i>Co-ordinated by <a href="https://twitter.com/ThinkingType">Catherine Dixon</a> and <a href="http://letterpressworkshop.com/">Rose Gridneff</a>.</span></div>
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<span class="Apple-style-span" style="font-family: 'Courier New', Courier, monospace;">It's coming at a time where my working systems across bookwork, stitched bag and chair, wall object and drawing are by-products of basically the same system (analogous to letterpress). In the end I do want an entropic slip out of the system for each output – and thinking hard about how this can happen.</span></div>
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0tag:blogger.com,1999:blog-1638085356777905810.post-82936776386768151472012-10-03T17:03:00.004-07:002012-10-03T17:14:01.240-07:00Pressed up to the page<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Courier New, Courier, monospace;">Four projects have come to a head at more or less the same time, hence the post silence. This — seen here in sequence and entirety (albeit with the spreads split) — a two-colour bookwork in edition of 300 for <a href="http://containercorps.com/projects/summer-sigs-12/">Container Corps</a> of Portland, Oregon– in their 'Summer Sigs' series of publications by invited artists. The only stipulations were size (8.5" x 5.5"), page number (16), binding (saddle-stitch) and the inking (black, plus a chosen spot colour).</span></div>
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<span style="font-family: Courier New, Courier, monospace;">A number of influences behind the work. I was taken by the format. Harking back to the Make Do Type work for the New York Times, the benefits to working with imperial units have become apparent, really because of the fit to type measurement. This, in the knowledge that I will soon be making some letterpress work on an offset proofing machine, to feed an upcoming <a href="http://stbride.org/events">talk</a> at St. Brides in November.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">So the first move was to implement a square grid that would tally with the 8.5" x 5.5" page. Therefore, a 51 x 33 pica grid. Then, the notion of a book-object, with a system to hold moveable, concrete components. I am wary of the pegboard cliché but could see no other way as simple-stupidly flexible enough in this instance, to do what was intended.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">This spread in sequence, from Quentin Fiore and Marshall McLuhan's <i><a href="http://en.wikipedia.org/wiki/The_Medium_Is_the_Massage">The Medium is the Massage</a> </i>(1967) (<a href="http://gregbabula.com/post/461376075/the-book-is-an-extension-of-the-eye">via</a>), has been an important one for use in my teaching of bookwork–based projects. The possibility of reader's thumb pressing and puncturing the epidermal page. In either direction. On another page, McLuhan speaks of "information being brushed up against information". So I was interested in squeezing the photopictured compositions up against the undersurface of the page, making the mediating skin as 'thin' as possible, under the reader's thumb. </span></div>
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<span style="font-family: Courier New, Courier, monospace;">I had heard the erudite Sam Winston talk a couple of years ago, about his piece <a href="http://www.samwinston.com/work/pencil-drawing" style="font-style: italic;">Pencil Drawing</a>, being photographed under a large camera-scanner, for minimum distortion across the surface of his original. In the absence of such kit, I built the spreads on plywood 'pages' (with bleed), then scanned layer by layer, to brush each part up against the scanner glass and therefore the point of focus. Then, a painstaking recompositing job onscreen, so that all was in focus. The result, oddly synthetic.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizgo5gAFcc_3stVDShDWZ49gPF58rGkseZdlhmZYmZjGLtte4mxAjCtLgErGRaGJ2ElLE-0fhJo-_jrhN0EAcd3yDtouzgE0xOB4AUmQwqUIxaZ9NdZfYlvTrVB9_RSS_luwIQgqkmzvNp/s1600/micah5.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Courier New, Courier, monospace;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizgo5gAFcc_3stVDShDWZ49gPF58rGkseZdlhmZYmZjGLtte4mxAjCtLgErGRaGJ2ElLE-0fhJo-_jrhN0EAcd3yDtouzgE0xOB4AUmQwqUIxaZ9NdZfYlvTrVB9_RSS_luwIQgqkmzvNp/s400/micah5.jpeg" width="400" /></span></a></div>
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<span style="font-family: Courier New, Courier, monospace;">Daily inspirators <a href="http://stoppingoffplace.blogspot.co.uk/2012/05/call-ampersand-response.html">Michael Dumontier</a> and <a href="http://www.qubik.com/zr/">Joe Gilmore</a> have both recently issued bookworks with a kind of mute thingliness. A conversation between pages, without recourse to words. Above, Michael's <a href="http://www.nieves.ch/catalogue/micahinside.html"><i>Call Ampersand Response</i></a> (2012), with Micah Lexier. </span></div>
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<span style="font-family: Courier New, Courier, monospace;">Here, Joe's <i>Void()</i> (2012), a risographic, eponymous derivation of his peerless site.</span></div>
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<span style="font-family: Courier New, Courier, monospace;">Finally, a real find, from <a href="http://printedmatter.org/">Printed Matter</a> in NY, a couple of years ago. Stina Ekman's <i>Gitter </i>(1985); "an intuitive exploration into the number of sculptures contained within the cube 60 x 60 x 60".</span></div>
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<span style="font-family: Courier New, Courier, monospace;">I want to write more about the component-language of the new bookwork and particularly its role as a pattern planner. Also the forms' inflection, out of the now happening <i><a href="http://jigglingatoms.org/">Jiggling Atoms</a></i> physics project. Save for the next post.</span></div>
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Peter Nencinihttp://www.blogger.com/profile/03178217407884973262noreply@blogger.com0