28 Critical Reflections: random 1 t0 7
Oh yes, there were birds, but not like the birds you see today. Big as eagles and coloured like kingfishers. They roosted on the ledges of the towers, and under the ramps. Long curving ribbon ramps, with... Obviously these were too heavy to fly, so they had to go on the roads. Very fast. Automated, of course.[2]
My left hand is my thinking hand. The right is only a motor hand. This holds the hammer. The left hand, the thinking hand, must be relaxed, sensitive. The rhythms of thought pass through the fingers and grip of this hand into the stone.[7]
The gallery is a lovely bright space, all white-painted wood and high ceilings, with a few stunning pieces, but the garden's the real show-stopper here. It's quite small, but full of amazing and very varied sculptures, placed far enough apart that you can enjoy each one individually, but close enough together that you can get really interesting perspectives of three or four at once.[8]
The singularity of specular reflections is demanded by the fact that if one tries to apply to them the schema of communicational process many puzzling questions arise: source and addressee coincide (at least in cases where a human looks at him or herself in the mirror); receiver and transmitter coincide; expression and content coincide since the content of the reflected image is just the image of a body, not the body itself; as a matter of fact the referent of a mirror image is pure visual matter.[3]
My left hand is my thinking hand. The right is only a motor hand. This holds the hammer. The left hand, the thinking hand, must be relaxed, sensitive. The rhythms of thought pass through the fingers and grip of this hand into the stone.[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]
River Form reminds the viewer of a pebble that has been gently shaped by the currents of a churning river. The piece is a contemplation of water, space and the sky. The artist’s interest in exploring the void and the interaction between positive and negative space is evident in the cutaway interior which gives the impression of having evolved over time.[1]
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