Glenys Cour

At last the website is done – it has been a project for longer than I had intended but its there now for all to see.

Glenys is a true artist, she paints every day and is never happier than when she can be standing at her easel. She is as enthusiastic now as she has ever been and her work is still as glorious and joyful as ever.

Glenys did not want to entitle most of her pieces so you will find no titles at all, as it seemed wrong to label some and not others.

Please leave any messages for Glenys on this blog and I will make sure she sees them – she may even reply – if she can spare time away from her brushes.

http://www.glenyscour.co.uk/index.html

 

Thomas Heatherwick Sitooterie II

Sitooterie II

Sitooterie II

I am a great admirer of Thomas Heatherwick’s work and this week had the chance to see his Sitouterie in an Essex garden.

It is a hard subject to photograph but I went for the simple approach, looking in from the outside and looking out from the inside of the same corner. The metal spikes are hollow with amber translucent material at their tips so showing tiny spots of amber light on the inside. A young girl who happened to be there at the same time called to her grandfather “Grandpa, come and see, its the best bit of art I’ve ever seen” (I think she might have been 7 years old at the most!)

Haircut at the Barbican

In the Barbican lecture hall I caught a glimpse of a man with the most interesting hair, he must have let it grow long all over and the had it sculpted like a topiaried box hedge. The dark angular shape stood out against the sculpted white plaster wall beyond making such a strong image that I felt I must attempt to record despite the fact that everyone was rising from their seats and pushing past. It was a fleeting moment and I only had a mobile phone, the low light and the urgency made for a blurry result.

haircut

Haricut

Shadows and Slots

I am continuing to explore creating shadows with simple forms. These 3/4 plaster spheres have been filed to make a slot and then all 49 placed in a grid with the slots randomly positioned. Who knows why but looking at it makes me feel calm and peaceful, (although a little annoyed that not every sphere is in focus) must try harder. The spheres are about the size of a mint imperial, no-one has been fooled yet luckily, they could be nasty if swallowed!slots

Creating Cast Shadows

Somehow I seem to have found myself moving almost full circle in my use of scale.  I began with intricate delicate jewellery in silver and moved abruptly in a dramatic change of scale to a few bulky fabrications in painted MDF, then mild steel sculpture as big as I could make it. I yearned to go bigger, larger than life but for that you need money, strength, a whole workshop full of specialist equipment, space and hopefully a commission. After a liberating but all too brief dalliance with pleated paper and an even briefer sojourn with copper sheet, I adopted a more restrained approach,  all white sculpture on a domestic scale in a medium quite new to me until now, cast plaster. Gradually and almost without realising what was afoot, the scale has slid back down, close to jewellery sized pieces.
Throughout this whole exploration of materials and processes, runs my habitual theme of repetition, it seems to be the one constant, indeed it is undeniably quite my favourite. And of course my second favourite, the aspect that sits so well with repetition – cast shadows.

 

Sally Wakelin pleated paper installation

Relueaux Triangle Sculpture

Soft daylight casting shadows over hemispherical arrangement

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