Comments on: As Wide As A Door Is Open http://abstractcritical.com/note/as-wide-as-a-door-is-open/ Abstract Critical is a not-for profit company aiming to establish a new critical context for all generations of artists involved with ambitious abstract art. Sun, 09 Nov 2014 17:23:33 +0000 hourly 1 http://wordpress.org/?v=3.9.2 By: Peter Stott http://abstractcritical.com/note/as-wide-as-a-door-is-open/#comment-895059 Thu, 25 Sep 2014 16:17:19 +0000 http://abstractcritical.com/?post_type=note&p=8529#comment-895059 The Installation Photo number !, photo, for example, according to art theory one could see all that picture as one pictorial immaterial architectonic object, some sort of detail of it, as it becomes an architectonic illusion. I am now putting this theory to the test. Don’t try this at home, especially in extreme conditions.

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By: Peter Stott http://abstractcritical.com/note/as-wide-as-a-door-is-open/#comment-895025 Thu, 25 Sep 2014 16:00:19 +0000 http://abstractcritical.com/?post_type=note&p=8529#comment-895025 Extremes are the perspectives of the architectonic resolutions as of-paint aggregates of visual language come to pictorial function in the act of becoming prefect representations of immaterial form, forms of mind manifesting as apparent external objects. “Now focus in and hold the architectonic resolution. Hold. …And rest.” :-)

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By: Peter Stott http://abstractcritical.com/note/as-wide-as-a-door-is-open/#comment-891877 Wed, 24 Sep 2014 12:38:29 +0000 http://abstractcritical.com/?post_type=note&p=8529#comment-891877 I like the comment about the ‘strangeness’of abstraction. It is strange, in fact very strange, alien, even. I agree that it’s about the search for new visual experience, akin to space exploration, form exploration too.If there is alien life out there, what does it look like? By the fusion of chance marks, perhaps one might stumble across pertinent imagery, in the act of random form generation. However there’s also the act of composing this ‘random form generation’ into some sort of order that satisfies the artist, that’s the peculiar thing.

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By: Robin Greenwood http://abstractcritical.com/note/as-wide-as-a-door-is-open/#comment-881960 Sat, 20 Sep 2014 10:37:30 +0000 http://abstractcritical.com/?post_type=note&p=8529#comment-881960 Sam,can you then say some more about how they do function? You say in your previous comment that my comparison with Stella is misguided because it detracts from what John “might be trying to do”; but I have no knowledge of that, and, who knows, maybe John doesn’t really know either. My original comment was trying to put down specifically what I thought had been achieved, not what was intended. We both agree the “Ram Raider” piece is really good, and I have been as particular as I can be at the moment about why and how I think it works. I may have got it wrong, but if you could do the same, it might help. I think this piece of work is worth making that effort for.

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By: Noela http://abstractcritical.com/note/as-wide-as-a-door-is-open/#comment-881831 Sat, 20 Sep 2014 09:22:04 +0000 http://abstractcritical.com/?post_type=note&p=8529#comment-881831 I think John Bunker’s pieces in this show are very dynamic, the composition is extreme, but maybe I have the wrong meaning of the word. I am also interested in what makes a piece of work decorative .

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By: Sam http://abstractcritical.com/note/as-wide-as-a-door-is-open/#comment-881666 Sat, 20 Sep 2014 07:33:04 +0000 http://abstractcritical.com/?post_type=note&p=8529#comment-881666 I quite like the idea of John Bunker’s collages working between the abject and the decorative, though I don’t think that dynamic to any extent describes the whole of the way they function.

I walked past an abandoned deckchair on my way home yesterday and am kicking myself I didn’t pick it up (in my defense I was about half an hour from home and was planning to get fish and chips on the way).

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By: Detlef Holz http://abstractcritical.com/note/as-wide-as-a-door-is-open/#comment-880944 Fri, 19 Sep 2014 23:24:19 +0000 http://abstractcritical.com/?post_type=note&p=8529#comment-880944 What can you mean, Herr Linsley?

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By: Robert Linsley http://abstractcritical.com/note/as-wide-as-a-door-is-open/#comment-880084 Fri, 19 Sep 2014 15:52:37 +0000 http://abstractcritical.com/?post_type=note&p=8529#comment-880084 “Detlef,” can’t you make up your own pseudonym?

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By: Robert Linsley http://abstractcritical.com/note/as-wide-as-a-door-is-open/#comment-880081 Fri, 19 Sep 2014 15:51:07 +0000 http://abstractcritical.com/?post_type=note&p=8529#comment-880081 The Stella comparison is valid, for many reasons not mentioned. For one, the two corresponding drawings cut into circles and placed like eyeballs or other organs at the top – we “see” them complete even though they are partially blocked by overlapping pieces.

What gives Stella an edge and makes him great is that he does not strive for wholeness, but for freedom – which doesn’t stop him from getting it anyway.

Noela is right, but this is a technical problem for which there is no single valid solution. My works have always been organic wholes, and I’m benefiting from letting some grit into the oyster.

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By: Noela http://abstractcritical.com/note/as-wide-as-a-door-is-open/#comment-879712 Fri, 19 Sep 2014 12:27:12 +0000 http://abstractcritical.com/?post_type=note&p=8529#comment-879712 I don’t think John Bunker’s work is decorative. I remember thinking some images Robert Linsley posted a few months ago were veering towards a kind of decoration because they seemed to be shapes with colour and texture applied afterwards rather being an integral part of their structure. (I hope he forgives me for bringing this up again). John’s work feels like the coloured elements are brought together and layered to construct an interplay with visual impact very much like a process that could be used in painting.
Whilst I think ‘RamRaider- Fugitive’ is the stronger more outrageously dynamic piece, I do also prefer ‘Wallflower’ which has space and balance and strong directional forces which hold together well .

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