Photos, videos and docs of MJ Maccardini (trailerfullofpix), with the keywords: "2019"

IMG 7011-001-Picnic Grove 1

nobody@ipernity.com (MJ Maccardini (trailerfullofpix)) — Fri, 16 Oct 2020 21:21:33 +0000

MJ Maccardini (trailerfullofpix) has posted:

Cass Sculpture Foundation, Goodwood, West Sussex.

The immersive sculptural installations by David Brooks explore different perceptions and interactions with nature. As part of the Cass Sculpture Foundation’s Fields Programme, Brooks created Picnic Grove, a sprawling work built out of custom-made outdoor wooden furniture and spread over the entire 18,000m of the Deer Hut Field. The dozens of picnic tables and garden chairs are constructed in an interlocking manner, with trees heedlessly growing through the furniture like opportunistic weeds. As the picnic tables traverse the field and impose themselves on the landscape, the trees perforate the structures like a verdant grove, creating ambiguity as to which is dominant; manmade constructions or nature. This is typical of David Brooks sculptural oeuvre in which he creates experimental platforms for nature and man to play out against one another. While visitors are encouraged to utilise the installation for communal enjoyment, they will also find themselves negotiating the playful interruptions created by the erratic placement of the trees, fostering a similar sense of ambiguity as to who is imposing on whom.

IMG 7029-001-Mr Upton

nobody@ipernity.com (MJ Maccardini (trailerfullofpix)) — Fri, 16 Oct 2020 21:22:28 +0000

MJ Maccardini (trailerfullofpix) has posted:

Robin Upton, son of Ralph Upton. Ralph established Slindon Pumpkins and began the annual pumpkin display murals in 1968. The recent displays were designed by Mark Ford. Sadly, due to covid-19, the 2019 display was the last and Slindon Pumpkins is now closed.

IMG 7028-001-Some Slindon Pumpkins

nobody@ipernity.com (MJ Maccardini (trailerfullofpix)) — Fri, 16 Oct 2020 21:22:22 +0000

MJ Maccardini (trailerfullofpix) has posted:

Slindon Village, Arundel, West Sussex.

IMG 7024-001-Octopus's Garden

nobody@ipernity.com (MJ Maccardini (trailerfullofpix)) — Fri, 16 Oct 2020 21:22:15 +0000

MJ Maccardini (trailerfullofpix) has posted:

The 2019 pumpkin display at Slindon Pumpkins had an underwater theme, with donations going to the Marine Conservation Society.

IMG 7023-001-Icarus Palm

nobody@ipernity.com (MJ Maccardini (trailerfullofpix)) — Fri, 16 Oct 2020 21:22:09 +0000

MJ Maccardini (trailerfullofpix) has posted:

Cass Sculpture Foundation, Goodwood, West Sussex.

Icarus Palm is constructed from two tonnes of rubber tyres that have been torn and manipulated apart to form the figurative representation of a palm tree. The title Icarus Palm leads us directly back to the allegorical Greek myth of Icarus, the flying apprentice. The effect of the ripped up and gnarled tyres are incredibly evocative and from a distance appear dead, like a burnt-out carcass. There is a melancholic, post-apocalyptic sensibility to this work due to its equally familiar and unfamiliar appearance. Douglas White's use of rubber, enhances this idea, due to its associative symbolism with violent colonial expansion. Icarus Palm is suggestive of death and destruction and with climate change such a prescient issue, White's message appears seemingly pessimistic.

IMG 7021-001-Regardless of History

nobody@ipernity.com (MJ Maccardini (trailerfullofpix)) — Fri, 16 Oct 2020 21:22:04 +0000

MJ Maccardini (trailerfullofpix) has posted:

Cass Sculpture Foundation, Goodwood, West Sussex.

Bill Woodrow's sculpture Regardless of History was originally installed on the Fourth Plinth in Trafalgar Square in 2000. It is one in a series of sculptures in which Woodrow used the book as a primary motif. When invited to make a proposal for The Fourth Plinth Woodrow reconsidered a previous maquette for a sculpture he had wanted to realise on a monumental scale—a book and tree with a severed head on the ground. The head in Regardless of History is derived from a fallen statue and placed on the plinth in order to mimic traditional methods of display. The head is topped by a book and a tree, both symbolic of the accumulation of growth and knowledge. This composition is bound together by the tree’s roots, here providing a narrative on the cyclical quality of time. Full of symbolism, the supremacy of nature over civilisation is shown in Regardless of History as it may be observed in the jungles of South America or Thailand, where deserted temples have been reclaimed by nature. Woodrow here emphasises humanity’s fragility in the face of nature, suggesting that we should remain respectful of nature’s power and our place in a natural order and most significantly learn from our history, a common theme in Woodrow’s practice.

IMG 7018-001-London to Paris

nobody@ipernity.com (MJ Maccardini (trailerfullofpix)) — Fri, 16 Oct 2020 21:21:57 +0000

MJ Maccardini (trailerfullofpix) has posted:

Cass Sculpture Foundation, Goodwood, West Sussex.

Commissioned by CASS in 2000, London to Paris is one of the last large-scale sculptures Eduardo Paolozzi made before his death. The piece depicts a flat wagon – a device used to transport goods by rail – loaded with the dismembered hands, feet and head of a mechanistic figure, as well as a number of abstract and industrially shaped objects. The piece was inspired by Paolozzi’s childhood memories of the long train journey he took each year from Scotland to Milan, changing in London and Paris. The varied components and materials that combine to form the sculpture typify Paolozzi’s masterful ability to create personal and sometimes brutal portraits, through a study of the everyday. Fascinated by the relationship between man and the mechanized world of the twentieth century, Paolozzi made frequent studies of engines and modes of transport experienced in his past, which Paolozzi described as a sequence of objects. In London to Paris elements of that sequence are organised into a sculptural collage, a process Paolozzi likened to cutting sentences out of a book and rearranging the components in order to create something beyond one’s deliberate conception. Here, he unites the disparate sequence of man and man-made components in order to create a surreal and dream-like encapsulation of a memory. The scientific and technological developments of the post–war era are another recurring subject in Paolozzi’s work.

IMG 7016-001-Fork Chair

nobody@ipernity.com (MJ Maccardini (trailerfullofpix)) — Fri, 16 Oct 2020 21:21:50 +0000

MJ Maccardini (trailerfullofpix) has posted:

Cass Sculpture Foundation, Goodwood, West Sussex.

Sculptural seat in the woods, not attributed to a particular sculptor or designer as far as I could tell.

IMG 7015-001-Poem in Lights to be Scattered in the Square Mile

nobody@ipernity.com (MJ Maccardini (trailerfullofpix)) — Fri, 16 Oct 2020 21:21:46 +0000

MJ Maccardini (trailerfullofpix) has posted:

Cass Sculpture Foundation, Goodwood, West Sussex.

Originally commissioned by Parasol Unit Foundation for Contemporary Art, London. Poem in Lights to be Scattered in the Square Mile is Robert Montgomery’s first monumental outdoor work in metal and light. Inspired by meteorology Montgomery addresses the heightened effect of weather on the collective consciousness of the city. As an artist who has lived and worked in East London, the weather in the city often informs Montgomery’s work to highlight how nature can still be felt in urban landscapes. Montgomery regards the weather as a stimulus for both intimate and shared experiences. For instance a serene natural incident, such as clouds passing, is perhaps felt on a personal level but is in fact shared, and can have the effect of contributing to the collective mood of the metropolis. This work uses abstraction and beat poetry to create a rhythmic work that suggests the feeling, rather than reality, of city dwelling. Drawing on the historical concept of Social Sculpture pioneered by the German Fluxus artist Joseph Beuys, which proposed that everything has the potential to be a creative material and everyone to be an artist, Montgomery proposes a beautiful sentiment that the city is itself a ‘MAGIC SCULPTURE’ capable of inspiring affect.

IMG 7012-001-Picnic Grove 2

nobody@ipernity.com (MJ Maccardini (trailerfullofpix)) — Fri, 16 Oct 2020 21:21:40 +0000

MJ Maccardini (trailerfullofpix) has posted:

IMG 7007-001-Exotic Tree 1

nobody@ipernity.com (MJ Maccardini (trailerfullofpix)) — Fri, 16 Oct 2020 21:21:20 +0000

MJ Maccardini (trailerfullofpix) has posted:

Cass Sculpture Foundation, Goodwood, West Sussex.

Set within a wooded glade Exotic Tree by Zadok Ben-David creates an illusory sense of the fantastical or mysterious. Tiny, silhouetted figures are just visible within the boughs of the three-metre tall steel form. Part of the artist’s series of Innerscape sculptures, which play upon the idea of worlds existing within a larger subject matter, the work addresses imagination, the realm of dreams and the relationship between man and nature. The use of corten steel is an example of Ben-David’s habitual employment of materials that visibly weather. Inspired by the natural world, the sculpture responds to its surroundings, changing colour with time. In the artist’s vision, the natural world becomes a metaphor for human nature, the tree a symbol of our escapist childlike desires and how they are perhaps incompatible, yet eternally enchanting within our realities.

IMG 7009-001-Exotic Tree 2

nobody@ipernity.com (MJ Maccardini (trailerfullofpix)) — Fri, 16 Oct 2020 21:21:30 +0000

MJ Maccardini (trailerfullofpix) has posted:

IMG 7006-001-X

nobody@ipernity.com (MJ Maccardini (trailerfullofpix)) — Fri, 16 Oct 2020 21:21:08 +0000

MJ Maccardini (trailerfullofpix) has posted:

Cass Sculpture Foundation, Goodwood, West Sussex.

X is a work by young Latvian-American artist Viktor Timofeev that seizes on the power of contrasts. Suprisingly its industrial aesthetic sits in comfortable harmony with the scenic natural backdrop of the West Sussex countryside at Cass Sculpture Foundation. The form of X is a meshing of geometric archetypes; the square, the cube and the cross. The latter of these forms disrupts the former, by cutting across the surface and employing small variations in size. With its perforated, open-top structure and incised diagonals X is only perceptible when all four walls are seen simultaneously. The interior of polished mirror steel provides a direct contrast to the rusty corten steel exterior, resulting in a balance of extremes rather than a state of decay. The only way inside of this structure demands that you enter diagonally, squeezing in between the interlocking “teeth” which are made by the rectangular perforations. This journey inwards presents one with a conflict of feeling, at once both menacing and inviting. Once inside, a mirrored panorama surrounds the viewer, bringing the outside in and providing no overhead shelter. Timofeev calls X an attempt at a metal-sanctuary and cites his profound experience at Aldo Rossi’s San Cataldo cemetery in Modena as particularly influential.

IMG 7002-001-The Return 2

nobody@ipernity.com (MJ Maccardini (trailerfullofpix)) — Fri, 16 Oct 2020 21:21:01 +0000

MJ Maccardini (trailerfullofpix) has posted:

Cass Sculpture Foundation, Goodwood, West Sussex.

Rodney Bender's work The Return plays with optical illusions and is suggestive of the journey of life. The pearlescent flat panes of the kilolux which adorn one side of this sculpture reflect a distorted and multicoloured image of the natural surroundings, when light is seemingly reflected and then returned at a 90 degrees angle. This has the effect of casting images of trees in rippled and dream-like shadows. This work is both calming and heroic, suggestive of potential and hope.

IMG 6999-001-The Return 1

nobody@ipernity.com (MJ Maccardini (trailerfullofpix)) — Fri, 16 Oct 2020 21:20:55 +0000

MJ Maccardini (trailerfullofpix) has posted:

IMG 6987-001-195.5Arc x 14 (2)

nobody@ipernity.com (MJ Maccardini (trailerfullofpix)) — Fri, 16 Oct 2020 21:20:35 +0000

MJ Maccardini (trailerfullofpix) has posted:

Cass Sculpture Foundation, Goodwood, West Sussex.

195.5 Arc x 14 is a dynamic sculpture composed of two clusters of cor-ten steel beams that lean against each other for support like two old friends. This work is part of Bernar Venet’s arc series named after their mathematical composition. All fourteen beams are curved gracefully to the exact same angle of 195.5 degrees in a majestic act of balance. These fourteen curves create a rhythmic sculpture which appears both stable and precarious.

Their deceptively precarious appeal hides a happy accident. During transportation these monumental arcs were provisionally placed and Venet saw an opportunity in their momentary alignment, and thereby decided to create a new work. This example illustrates the sculptor’s intention to create compositions that are neither pre-meditated nor planned during the process of artistic production. Venet embraces the uncontrived geometric arrangements in his work, which he believes invite a certain element of chaos, what he calls the ‘collapse of the world’, whilst simultaneously providing focus on fundamental sculptural properties, such as density, mass, balance, form and the manipulation of positive and negative space.

Bernar Venet’s works are predominantly based on theories, which appear to be contradictory, but contextually align themselves in a complementary way. For instance 195.5 Arc x 14 is both dense and precariously angled, determined and non-determined. He sees these polarities as an analogy for how life, matter and nature organises itself according to opposing, yet complementary principles such as order and disorder.

IMG 6993-001-Clouds

nobody@ipernity.com (MJ Maccardini (trailerfullofpix)) — Fri, 16 Oct 2020 21:20:49 +0000

MJ Maccardini (trailerfullofpix) has posted:

Cass Sculpture Foundation, Goodwood, West Sussex.

Standing at over ten metres tall, Olaf Breuning’s Clouds compete with the towering treescape of Cass Sculpture Foundation. Held in place by rudimentary steel supports, the six cartoonish clouds are cut from polished aluminium and powder-coated in different hues of bright blue. Clouds is a permanent realisation of an earlier work in which Breuning used lifting cranes and boom lifts to elevate large blue cut-out drawings of clouds into the air for a momentary staged photograph. Their whimsical bulbous shapes and blue finishes are reminiscent of a child’s rendering of the sky or the set of a primary school play. Breuning’s Clouds harness this innocence to contrast with their surrounding environment. This naive depiction of the natural world provides a poignant counterpoint to the harsh realities of climate change created by human civilisation.

IMG 6992-001-Diamond

nobody@ipernity.com (MJ Maccardini (trailerfullofpix)) — Fri, 16 Oct 2020 21:20:46 +0000

MJ Maccardini (trailerfullofpix) has posted:

Cass Sculpture Foundation, Goodwood, West Sussex.

In the seventies Lynn Chadwick began to develop his style from angular and abstract constructions into smooth and more obviously figurative forms. He began using geometric shapes as emblems for limbs and heads in order to standardise his figures. Diamond is a perfect example of this evolution into figuration. There is a satisfaction in understanding the progression of Lynn Chadwick’s work from his early mobiles, which can be understood as explorations into space and volume, to the Conjunction works of the sixties, which combined mass in sculptural form, to the more refined and smooth Cubist forms of his works in the eighties, such as Diamond. This work exposes the visual code which Chadwick developed; the diamond or pyramid referring to the female and the rectangular to the male. Although Cubist and geometric, Diamond is not cold or without movement. The masterful lean, which Chadwick accomplished in Diamond, provides a soft edge ensuring that the works ‘attitude’ is not lost. Chadwick believed this attitude was imperative to the success of a sculpture and Diamond certainly achieves this through an endearing interaction of two figures.

IMG 6988-001-Broken Butterflies

nobody@ipernity.com (MJ Maccardini (trailerfullofpix)) — Fri, 16 Oct 2020 21:20:41 +0000

MJ Maccardini (trailerfullofpix) has posted:

Cass Sculpture Foundation, Goodwood, West Sussex.

Thomas Keisewetter’s Broken Butterflies (Version 1) is made up of a series of isolated steel shapes that combine to create a vibrant, abstract form. Kiesewetter begins his process by crafting each individual section of the sculpture out of paper, cardboard and tape, allowing the chance pliability of the material to engender the sculpture’s final profile. Describing the fabrication process as “like rolling a dice”, Broken Butterflies is partially an investigation into the agency of the artist, coincidence and chance. The use of corten steel – a material that weathers naturally, changing colour over time as layers of rust form on its surface – contributes to the sense in which Keisewetter exercises the limitations of his involvement.

For Keisewetter, an integral component to the work is the multiplicity of interpretations it offers the viewer. Broken Butterflies shifts and shimmers as different coherent forms rise up from certain angles, only to disappear as you continue to walk around the structure. The title contributes to the sense of disjointed beauty achieved by the mass of steel, which can be grasped fleetingly in a multitude of momentary forms.

IMG 6982-001-Bu Num Civilisation Wheel 2

nobody@ipernity.com (MJ Maccardini (trailerfullofpix)) — Fri, 16 Oct 2020 21:20:21 +0000

MJ Maccardini (trailerfullofpix) has posted:

Cass Sculpture Foundation, Goodwood, West Sussex.

Bu Num Civilisation Wheel appropriates aesthetic representations of an archaeological dig. Whilst at Cass Sculpture Foundation, Tu Wei-Cheng developed five excavation sites, each about five square meters in size and one meter deep. Within these sites, ‘cultural relics’ have been unearthed, whilst others remain buried deep underground. In contrast to the usual discoveries at excavation sites the discovered ‘cultural relics’ at CASS are in fact Tu Wei Cheng’s sculptures. Upon close inspection of this work items such as USB drives, computer hardware, speakers, mobile phones, floppy disks, remote controls and even Internet cable slots and motherboards are discernible. Once viewers discover these disguised forms of contemporary objects, they realise the absurdist humour behind the entire archaeological site. Tu Wei Cheng holds workshops in archaeological discovery at these excavation sites, which he combines with related fake press coverage of these ‘discoveries’.