2003•DMU Open Research Archive (De Montfort University)Requires access
Made in England: four British artists in Japan and residency at Seian University of Art and Design, Japan with artist in residence exhibition, Maronie Gallery, Kyoto, Japan
J. J. Lancaster
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Abstract
The research project had two stages. Stage one consisted of work produced in the UK and was part of the ‘Made in England’ group exhibition. This work formed the basis of the experimentation in stage two with further development through the artist's residency and exhibition in the Maronie gallery. The research focussed on the exploration of surface ambiguity in pictorial composition. A tightly controlled palette and compositional structure were also used to provide a systematic method. The series focuses on a relationship between Islamic architecture and design and the Baroque Fugue. In David Ryan’s earlier catalogue essay* he draws attention to the similarity between the musical structure of the fugue, and to architecture, referring to it as “frozen music’. We are familiar with the relationship between music and the visual arts as discussed between **Bridget Riley and Alex Farquharson but the originality of my work lies in the attention directed to a specific musical structure and the impact this has created on the visual invention based on architectural form. Through a series of rigorous visual improvisations that manipulate the collage as the method of experimentation, this series of works helps to build connections between the end of one series and the beginning of another. Brochure with colour illustrations and artist statements. Artist's residency at Seian University, Japan. The residency created opportunities for the public to visit an open studio. Maronie Gallery is a recognised contemporary gallery in Kyoto, An public illustrated artist talk (translated into Japanese) *Exhibition catalogue, Krefelder Kunstverein 2000 ISBN 185 721 29 68 **'The Eye’s Mind: Bridget Riley collected writings 1965-1999' p131 Riley discusses the vertical stripe painting ‘Winter Palace’ particularly to the principal colour relationships and their potential (visual) chords.