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In a dialogue between digital technologies and early nineteenth-century landscape painting this video meditates on the relationship between how one conceives and how one represents the world. It considers the importance of the several stages John Constable’s conceptions underwent in developing his 1829 painting Hadleigh Castle (currently living in Connecticut)—drawing, study, full-size sketch, final work, its migration into lithographic print—and how the manual process of painting allowed the artist to refine pictorial solutions that were convincing in his age to the newly problematic nature of the world's transience. Etc., etc.

An article that looks at Constable's painting in relation to contemporaneous changes in the conception of matter lives here: https://doi.org/10.17658/issn.2058-5462/issue-08/dtaylor

 

Trailer for 1080 HD video, stereo sound, 10.30'