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Glossary investigation: Pendulum

Unbalance: Pendulum

1818 Lord Byron Childe Harold’s Pilgrimage

        Man!
        Thou pendulum betwixt a smile and tear

        Mood swings
        Erratic
        Unstable
        Hysterical
        Unreliable
        Unequal
        Unbalanced


Pendulum still

Notes: Inspiration for this came from seeing Alexander Calder’s 1936 work Tightrope at the National Gallery of Victoria. My gallery photos didn’t come out well – better to look on the Calder Foundation website www.calder.org/work/by-category/standing-mobile.

More glossary entries

Structure based on lists

  • Glossary as a list of words connected with unbalance
  • Oxford English Dictionary used as source of quotations, not definitions
  • Making, motion, and photo documentation in response to quote
  • Text response in a list
  • Process notes
  • Energizing objects investigation – 5

    A towering thirst


    I picked up bar work while travelling. First time was in a roughish part of Edinburgh, the Lady Nairne. Learn on the job in those days, no RSA. Back in Sydney I continued learning:

  • if someone asks for scotch, don’t give them whiskey.
  • if someone asks for ice in beer, double check. They wanted juice.
  • if dad asks for a pony of beer, be glad he dropped by to say hi, not embarrassed by the unmanly glass.
  • Notes: This came together very quickly in the kitchen. Initial focus was the top section, which surprised in coming together reasonably easily and holding well.


    More energizing objects.

  • Balance to create motion
  • A sideways step through memory
  • Process, objects…
  • Caption
  • Glossary investigation: Trepidation

    Unbalance : Oscillation : Trepidation

    1667 John Milton Paradise Lost
    They pass the Planets seven, and pass the fixt,
    And that Crystalline Sphear whose ballance weighs
    The Trepidation talkt, and that first mov’d;

  • Moon
  • Mercury
  • Venus
  • Sun
  • Mars
  • Jupiter
  • Saturn
  • Fixed stars
  • Precession of the equinoxes
  • Trepidation of the equinoxes
  • Obliquity of the eliptical
  • Notes: Un-Balance, an infinite series of adjustments, led to Oscillation, a regular periodic fluctuation in value about some mean, nudged a memory of Kepler and the music of spheres, and on to Trepidation, the hypothetical oscillation in the precession of the equinoxes.
    https://www.poetryfoundation.org/poems/45739/paradise-lost-book-3-1674-version
    https://www.dartmouth.edu/~milton/reading_room/pl/book_3/text.shtml
    https://en.wikipedia.org/wiki/Celestial_spheres
    https://en.wikipedia.org/wiki/Johannes_Kepler
    https://en.wikipedia.org/wiki/Trepidation_(astronomy)

    The mobile took a literal approach. A central “earth” in wood; two arms, each with a “planet” in metal (both copper one side, aluminium the other) circling the earth, each planet balanced with a metal swirl, a swivel allowing the trepidation circle. Without movement, flat and boring.

    More glossary entries

    Energizing objects investigation – 4

    Step 1


    Step 2


    Step 3


    Step 4

    Once a week mum would cook with one of us. Special one on one time, precious among five children. Hand made receipe pages, line drawings of blue open-fingered hands rubbing yellow butter into flour.

    Scones for afternoon tea.

    Notes: Improvising with objects in the serviced apartment when visiting Melbourne for the opening few days of Alexander Calder:Radical Inventor exhibition.
    Paper cord (made from 2 sheets of A4); books; series of kitchen implements.


    More energizing objects.

  • Balance to create motion
  • A sideways step through memory
  • Process, objects…
  • Caption
  • (Metaphorical) gluttony and indigestion

    Apparently it’s now called Freshwater, but when I was a child we would sometimes drive in summer heat to Harbord Beach. A heavy red and white umbrella. Zinc cream. Burning feet trudging through the sand. Staying between the flags, jumping into waves, attempting to body surf.

    And some days the waves, churning sand, would catch you up, tumble you around, water up your nose, struggling – which way is the surface? And you’d stagger out, legs trembling, eyes stinging, swimmers dragging down from the weight of sand in the pants, hair drying crunchy with salt. Exhausted. Wanting more.

    So I’m mixing metaphors between title and intro, but that’s just how it is right now and we’ll all just have to make do. Because over the last five weeks I’ve been tumbled, and gobbling, and racing back for more.

    The blog’s never going to catch up, so a sprint through. Visual focus remains un-balance.
    Joel Crosswell in Dirty Paper at Tasmanian Museum and Art Gallery

    Bad reflections in the photo. Lots of flickering movement.

    Toby Ziegler Your Shadow Rising at MONA

    Toby Ziegler
    Empty Pond

    A grid rather than balance.
    Layers, accepting chance, multiple approaches (film, installation, …).

    ZERO at Mona
    Much more time and need for thought and research on Zero and Nul movement(s).


    Stripes rather than balance. Amazing what clever placement of some nails can do.

    There were multiple examples of the revealed depth of Fontana. Plus movement, vibration, balance by Bernard Aubertin, Jesús Rafael Soto, Jean Tinguely…

    Riitta Ikonen and Karoline Hjorth Eyes as big as plates at Salamanca Arts Centre

    Hjorth and Ikonen
    Eyes as big as plates
    Salme


    A wonderful, calming, enriching experience. I chatted for a long time with the two artists, who were incredibly welcoming, forthcoming, encouraging, generous… See more of their project at https://eyesasbigasplates.com/.

    Intensive Creative Research with Ruth Hadlow. The first of our group sessions was held over three days in Hobart. “Intense” doesn’t cover it. Work flowing on from it includes my Energizing Objects and Glossary investigations.

    Battery Point, Hobart
    I walked the harbourside sculpture trail, but found myself more drawn by views of boatsheds, cottage gardens, inventive weather vanes and tardis side gates.

    Janet Laurence After Nature MCA Sydney
    This major survey shows the depth and wide ranging approach of Janet Laurence. Concentric rings of layered and image-printed fabrics combine with light and film to immerse the viewer in trees, within a tree, in the history of our relationship with trees. Modern and ancient knowledge and technologies are brought together. All our senses are engaged.

    A huge tree, killed by drought, has been pieced together in one of the galleries. It is bandaged, glass tubing suggesting life support, or perhaps an exchange between tree and environment of fluid or air. Engraved markings in the bark, and the insects who made them, are celebrated. Is salt rock a blossoming new growth, or the death of salinity? Eyes on balance, I was impressed by the few supports needed to stabilise the tree in the space. A slight discontinuity in deep fissures in the tree showed the small adjustments made to adapt it to its new life.

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    John Chester Jervis, National Library of Australia
    A trip to Canberra with my mother was focused on the photograph albums of a 19th century ancestor – my great great great uncle. The albums were recently donated by a distant English cousin.

    Mum with John Chester Jervis photo album


    Mourning locket for Louisa, briefly reunited with photograph of her sister Ellen and brother John

    Mum has researched the Australian period of John Chester’s life, from the 1840s to 1871 – https://megshistory.wordpress.com/john-chester-jervis/.

    While in Canberra we also visited the National Gallery of Australia, in particular Love & Desire: Pre-Raphaelite Masterpieces from the Tate. There were many familiar works included, but there’s nothing like a bit of parochialism.

    Ford Maddox Brown
    The seeds and fruits of English poetry

    The central section of The seeds and fruits of English poetry by Ford Maddox Brown is a study for an enormous painting, Chaucer at the court of Edward III in the AGNSW collection. It’s one of mum’s absolute favourite works, and whenever we have a few minutes spare at the gallery you’ll find us visiting it.

    Māori Markings: Tā Moko was fascinating.There has been a contemporary resurgence of this practice, which is of major cultural significance.

    Yayoi Kusama
    The spirit of the pumpkins descended into the heavens

    The bright yellow room presented by Yayoi Kusama is billed as an experience of both claustrophobic and infinite space. I’m sure we weren’t the first to find it puzzling. I’ve been vaguely aware of Kusama’s work in the past, and find the obsessive character of it disturbing and in some sense empty.

    We also found our way down to Bodies of art: Human form from the national collection. There we found Number 24, Harry Boyd, by Harry Klippel.

    Robert Klippel
    Number 24, Harry Boyd

    Robert Klippel
    small polychromed tin sculptures

    It’s hard to believe this massive piece of sandstone was carved by the same man who made the multitude of inventive wire and tin forms which I most recently saw in Mosman as part of Destination Sydney. (I think they’re actually part of the AGNSW collection).

    Hossein Valamanesh
    Falling

    Robert Klippel is definitely one of the artists on my list the research further for un-balance.

    Part of the interest of un-balance is the constant potential for complete loss of balance – for falling.

    On the information plaque Hossein Valamanesh is quoted: “Leaving aside narratives the work stands for itself and is about falling with grace.” The long bamboo shivered just slightly in the gallery’s currents of air. The work is beautiful and elegant, but I struggle that it seems to be set at the moment of impact, where grace can no longer hold. The ground is so solid and hard. I’d like to see it Falling on a plinth, white or even perspex, curving to swoop joyfully upwards.

    No photos, but I’ll briefly mention Hassall Collection at Drill Hall Gallery. No photos – we happened to arrive at the same time as a very large group of people from Canberra and Sydney, and it was hard to get viewing space.

    In the last few days I’ve been on another interstate trip – this time to the National Gallery of Victoria, and focused on the opening events of Alexander Calder: Radical Inventor. An amazing experience, needing its own post. While there I took a couple of hours to roam NGV galleries, looking for anything that spoke to me of un-balance.

    Francesco Clemente
    The Midnight Sun XII

    I have no idea what to make of this painting, but I stayed with it for a long time. There are scales. There is a balance achieved in the composition in a way I don’t understand. Research needed.

    Paul Cezanne
    The Uphill Road


    The geometry here is amazing. The roof and tree line, with the path at the bottom, struggle to balance that steep, sliding slope.

    Then in the bottom right corner, and possibly among the last brush strokes on the canvas, is the slightest hint of a straggle of weeds. And I think that braces, props up, the entire thing.

    Currently hanging next to the Cezanne is The bridge on the Seine at Chatou by Maurice de Vlaminck.

    Maurice de Vlaminck
    The bridge on the Seine at Chatou


    Full of energy and zest, and I don’t think the artist cares one whit that the bridge and the entire village on the right bank is about to slide under the waters of the Seine.

    Mari Funaki
    Container

    A dreadful photo, lots of reflections and blurry focus, but I want to remember the works of Mari Funaki. A much better photo is on the gallery website here. A beautifully balanced insect of a thing which could leap across the room in an instant. That leftmost leg is wide but thin – the whole thing looks like it could tip backwards, at the same time as it seems perfectly in control.

    Just minutes later I was looking at this jar – Predynastic Period, Naqada II 3500 BCE-3200 BCE. EGYPT, Diospolis Parva

    Jar

    Maybe looking at Funaki’s work I should have been thinking of birds rather than insects. And these lines actually would make a good segue to Alexander Calder and his zoo drawings. But not today.

    Instead I’m going to finish where I intended to start – at the pile of books that have accumulated over the same five weeks. In no particular order:

    Hassall Collection: A masterpiece Collection of Australian Art. Exhibition catalogue.
    John Berger. A Painter of Our Time
    Dora Garcia I see words, I hear voices
    Alexander Calder: Radical Inventor. Exhibition catalogue.
    Landscapes: John Berger on Art
    Richard Serra, Hal Foster Conversations about Sculpture
    Alexander Calder & Fischli/Weiss
    Sol LeWitt: Between the Lines
    William Kentridge Six Drawing Lessons
    Joy Kenward The Joy of Mindful writing: Notes to inspire creative awareness
    Ruth Hadlow Granite
    Nancy Spector and Nat Trotman Peter Fischli David Weiss: How to Work Better
    Joan Pachner David Smith
    Anne Carson Float
    Lynne Cooke, Karen Kelly and Barbara Schroder (eds) Agnes Martin
    Eyes as big as plates. Exhibition catalogue
    Sarah Edelman Change your thinking: positive and practical ways to overcome stress, negative emotions and self-defeating behaviour using CBT (Lent to me by a work colleague who thought I was stressed. Can’t imagine where he got that idea!)

    All this added to the metres of unread and part-read books already piled up on the shelves.

    Five weeks, four capital cities, sixteen books. Good days.

    Energizing objects investigation – 3

    Production

    Grandma was a proud woman of the north, a Master Cutler in her family line, steel in her veins. Now in the south, we caught a bus into town, eyes straight ahead as we walked past the “loitering youths” (a nervous – making presence, subject of many warnings), to The Bon, the big store. Scissors. We searched. We asked. No Sheffield steel. None.

    I’d never seen Grandma so upset, almost arguing. How is this possible? No Sheffield steel in your store!

    Walking back, I had never seen her so tired. Sad. Lost.

    Notes: Cutlery, corrugating tool, aluminium strip. A chance combination of items on the worktable.


    More energizing objects.

  • Balance to create motion
  • A sideways step through memory
  • Process, objects…
  • Caption
  • Energising objects investigation – 2

    Ready for lift-off

    There was a question around the grandfather and his preference for a three-legged stool. Not my grandpa. A generic grandfather, the sort who gets caught up in a question on a school maths test.

    A question which puzzled housemate and soon-to-be qualified maths teacher Sean. Wouldn’t the four-legged armchair be more comfortable? “Not if it wobbled”, I suggested. “Three points define a plane, so no wobble. Centre your weight within the triangle and the stool won’t overbalance, though it might slope.”

    My early energising repeats the lesson.

    Notes: Weaving shuttle, chopsticks and kitchen scourer. There was a series of simplifications, concluding in a simple and stable tripod.

    More energizing objects.

  • Balance to create motion
  • A sideways step through memory
  • Process, objects…
  • Caption

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