28 Critical Reflections: random 1 t0 7
There is an inside and an outside to every form. When they are in special accord, as for instance a nut in its shell or a child in the womb, or in the structure of shells or crystals, or when one senses the architecture of bones in the human figure, then I am most drawn to the effect of light. Every shadow cast by the sun from an ever-varying angle reveals the harmony of the inside to outside.[7]
The image in a mirror is not a sign for it and cannot be used in order to lie (if not by producing a false object to be reflected, but in this case what stands for the supposed object is the false body, not its reflection).[3]
The specular highlight often reflects the color of the light source, not the color of the reflecting object. This is because many materials have a thin layer of clear material above the surface of the pigmented material. For example plastic is made up of tiny beads of color suspended in a clear polymer and human skin often has a thin layer of oil or sweat above the pigmented cells. Such materials will show specular highlights in which all parts of the color spectrum are reflected equally. On metallic materials such as gold the color of the specular highlight will reflect the color of the material.[6]
And the play of inside against/with outside, the seeing through, the laid bare view, makes everything that is around part of the sculpture too.[4]
Carving is interrelated masses conveying an emotion; a perfect relationship between the mind and the colour, light and weight which is the stone, made by the hand which feels. It must be so essentially sculpture that it can exist in no other way, something completely the right size but which has growth, something still and yet having movement, so very quiet and yet with a real vitality.[7]
Shiny, and streamlined. With fairings, you know? And fins. All around them, people flying on their own, individually, with some kind of back-pack... jet, I think. No noise. Even the birds weren't disturbed, darting and swooping amid the human flocks.[2]
I like the contrast of foreground horizontal form with background vertical one, also between them the rhododendrons and lake with reflections.[5]
28 Critical Reflections random 8 to 14
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Sources
[1] http://www.neworleanspast.com/art/id62.html
[2] Ken MacLeod, Reflective Surfaces, New Scientist, 2009.
[3] Umberto Eco, A Theory of Semiotics, Indiana University Press, 1979.
[4] Clive Fencott, Reflections on seeing River Form in Barbra Hepworth's garden in St. Ives.
[5] http://www.flickr.com/photos/nigelhomer/316548379/
[6] http://en.wikipedia.org/wiki/Specular_highlight