Tiago Photography

Tiago Photography

0 comment Wednesday, April 23, 2014 |
Recently, I wrote my undergraduate dissertation (thesis) on the benefits of a synthesis between art and science, focusing on the artwork of Helen Chadwick.
Luckily, The Henry Moore Institute in Leeds has a Helen Chadwick archive, so for my dissertation I got to delve in to Chadwicks sketchbooks, notebooks and preparatory work for her art pieces. There is also a box of her more private correspondence, and copies of her books with her own notations. You can view the notebooks online here, which is a great resource and easy to use.
I feel strongly that Helen Chadwick was way ahead of her time in her art-work, and that her work is still relevant today.

My favourite work, Nebula (1996) tackles the ethical implications of IVF treatment, the embryologist picks the most perfect embryo for insemination, just as a jeweller would choose the most perfect gem. Here, Chadwick has used "rejected" embryos to immortalise forever.
The definition of "Nebula" is interesting, as "Nebula" can describe both the clouding of an eye (an eye cataract) or the cloud of gas which appears when a star dies or is born, both implicating death. The image of the cataracted eye above is deliciously ambiguous, it could just as easily be a scene from space. This universality of a circular form is something I am fascinated with in my own art practice.
The dandelion in this piece acts as a paused clock, in storytelling / folklore, dandelions are said to measure the time by the breaths in which you blow off all of the seeds. source.
Put together, the rejected embryos suspended in formalin (an organic preservative chemical), the cataracted eye (or Nebula) and the dandelion clock, are a bold statement on the fragility of life.
I will be writing segments on the work of Helen Chadwick regularly, but if you would like to get a full overview in the meantime, this documentary is fantastic.

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0 comment Tuesday, April 22, 2014 |
Introducing the artist Jim Denevan!
Denevan really connects to the environment by finding ways to draw in materials such as sand and ice. There is a transient, fleeting quality to Denevans work as his work is eventually worn away by weather.
In some of his works, Denevan considers the Fibonacci spiral to direct the shapes of his drawings to connect even further to the natural world.



To see more of Jim Denevans work please visit his website.

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0 comment Monday, April 21, 2014 |

As an AS Level art student, I was introduced to the work of M. C. Escher and he quickly became my favourite artist. Aesthetically, I am a big fan of monochrome and bright popping colours, but I was also intrigued by the skill of his drawing. How do the tessellations fit together, for example?
I can barely draw tessellations of squares!

My interest has always stayed quite strong, though I am becoming more intrigued by the work of Escher as I read Hyperspace by Michio Kaku.
For example, Michio Kaku starts "Hyperspace" by sharing a story from his childhood.
"I remember that my parents would sometimes take me to visit the famous Japanese Tea Garden in San Francisco. One of my happiest childhood memories is of crouching next to the pond, memorised by the brilliantly coloured carp swimming slowly beneath the water lilies.
In these quiet moments, I felt free to let my imagination wander. I would ask myself silly questions that only a child might ask, such as how the carp in that pond would view the world around them. I thought, What a strange world theirs must be!
Living their entire lives in the shallow pond, the carp would believe that their "universe" consisted of murky water and the lilies. Spending most of their time foraging on the bottom of the pond, they would be only dimly aware that an alien world could exist above the surface.
The nature of our world was beyond their comprehension. I was intrigued that I could sit only a few inches from the carp, yet be separated from them by an immense chasm. The carp and I spent our lives in two distinct universes, never entering each other's world, yet were separated by only the thinnest barrier, the water's surface."
Michio Kaku then goes on to explain how rain would feel to the carp. The force of the rain drops would disturb the environment of the pond, and the carp would believe that the lilies could move without being touched. Similarly, we may see evidence of forces around us, but not understand their origin.
Kaku then suggests that a human could pull a carp from the "universe" of the pool, and the carp will have experienced a new "universe". Similarly, if there is a fifth dimension, it may be possible that we may be able to experience it by being pulled up out of it.

This image was designed by Escher to make us think of dimensions; beneath the water, the surface on which the leaves are resting, and the reflection of the trees above.
However, with the addition of Michio Kaku's carp theory, the image has new meaning to me.
I began reading "Hyperspace" as I found out that it was the book that inspired Muse to call their 2nd album "Origin Of Symmetry". I hoped that the book could inspire me in my art work, but I didn't know that it would enlighten my understanding of Eschers work!

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0 comment |
During October 2010 and February 2011, The V & A museum in London hosted an exhibition of experimental photograms. The exhibition was named Shadow Catchers, and was dedicated to camera-less photography.
I had stumbled upon Floris Neusüss and his thunderstorm print on tumblr, and was excited to find out more.
This piece of light-sensitive paper was left in a garden overnight, during a thunderstorm. You can physically see the chaos of natural forces playing out over the print.
My favourite artist from this exhibition, was Susan Derges. Derges had a similar approach to Neusüss, by leaving a piece of light sensitive paper between layers of ice.
However, Derges also made some intriguing photograms of tadpoles in a glass jar over varying points in their lifespan.


To an unsuspecting viewer, the glass jar could be a petri dish, and the light source could be from the base of a microscope.

This "chemigram" by Pierre Cordier has been described as being like "a nucleus of energy before the Big Bang". This is because the print is deliciously ambiguous, it could just as easily be viewed as a microbe as it could a giant volatile planet.
Garry Fabian Miller's work seems very astrological on outset.
This digital print, named "The Night Cell", could be a photograph of the night sky, as viewed through a telescope, however Fabian Miller's work is actually the result of many controlled experiments and sequences.
This exhibition has greatly inspired my own work, as between the collection of artists, there is a relationship between chaos and order. Neusüss and Derges allow the elements to decide when and where light can touch the paper, whereas Garry Fabian Miller produces many prints, tweaking a tried and tested method each time, with much more of a handle on the final outcome.
You can view many more pictures, and find out much more about the Shadow Catchers exhibition at the Victoria & Albert Museum website.

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1 comment Sunday, April 20, 2014 |
The other day I made a post on A Timeline For The Universe by Omid Kashan which has been featured on the website Information Is Beautiful.
Patterns can be captured and processed through software to create artwork, and in this digital age, the possibilities are endless.
For his graduation project from The Royal Academy Of The Arts (Den Haag), Frederic Brodbeck has focused on visualizing and comparing movie data in his Cinemetrics project. By focusing on one aspect of the film, (such as movement) the program can generate an overall fingerprint of the film in its entirety, as you can see below.
cinemetrics from fb on Vimeo.
In the video, Brodbeck compares many different films so that you can see the varying degrees of movement in films such as The Shining and Alien.

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