The best laid plans, etc...
Yesterday's plan was to take a break. This morning I woke with an idea that would require some reorganisation of my internet presence.
For months I have been toying with how to present my work for sale. Selling isn't easy. At some point it would be good to hand it over to another party - a gallery maybe. But (for now) I have set up a sales contact site at http://sales.codedimages.com.
There you can find details of how to find original work, signed editions, commissions and - as of today - art concept posters. The posters are of high quality, but do not in any way detract from the other more traditionally - fine art - presentations of my work.
Indeed they are useful as a point of first physical contact with my work. They are an excellent way to view much larger concept interpretations, interpretations that go far beyond anything I can reasonably present here on the internet.
For more information browse http://sales.codedimages.com.
Maybe now I can start that holiday!
Tuesday, 14 July 2009
Sunday, 12 July 2009
Friday, 10 July 2009
Wednesday, 8 July 2009
research mode
I have - almost without concious thought - slipped from the making into research mode.
Tidying up the studio seems to have had a profound effect. The process of storing away the last of my work, from the second year at college, appears to have released my energies, allowing them to refocus elsewhere. That focus is now centred on finding material for the third year dissertation.
To that end, there are already many books and exhibitions on my research list, but I have to start somewhere, so I will begin with one of the shorter books (of just 72 short pages).
In Praise of Shadows by Junichiro Tanizaki.
"This is an essay on aesthetics by one of the greatest Japanese novelists. The text ranges over architecture, jade, food, toilets, and combines an acute sense of the use of space in buildings, as well as perfect descriptions of lacquerware under candlelight and women in the darkness of the house of pleasure. The essay forms a classic description between the shadows of traditional Japanese interiors and the dazzling light of the modern age." (A quote from the cover)
Tidying up the studio seems to have had a profound effect. The process of storing away the last of my work, from the second year at college, appears to have released my energies, allowing them to refocus elsewhere. That focus is now centred on finding material for the third year dissertation.
To that end, there are already many books and exhibitions on my research list, but I have to start somewhere, so I will begin with one of the shorter books (of just 72 short pages).
In Praise of Shadows by Junichiro Tanizaki.
"This is an essay on aesthetics by one of the greatest Japanese novelists. The text ranges over architecture, jade, food, toilets, and combines an acute sense of the use of space in buildings, as well as perfect descriptions of lacquerware under candlelight and women in the darkness of the house of pleasure. The essay forms a classic description between the shadows of traditional Japanese interiors and the dazzling light of the modern age." (A quote from the cover)
Tuesday, 7 July 2009
or maybe longer
Referring to my previous post.
It seems to be that the process of tidying the studio has applied a brake to the creative juices. Also, there are no pressing deadlines and therefore no pressure to deliver.
So, maybe it is time for a longer break.
It seems to be that the process of tidying the studio has applied a brake to the creative juices. Also, there are no pressing deadlines and therefore no pressure to deliver.
So, maybe it is time for a longer break.
Thursday, 2 July 2009
no more art this week...
...not unless I raid my archives (which I may yet do).
The reason - for no new art - is that I have been tidying and organising the ever decreasing space that poses as a studio. Ever decreasing due to cramming more and more into it, so much so it is bursting at the seams!
After three years at college I have created a dozen journals, each one with 80 to 100 pages of notes, drawings and diagrams. So already I have a 1,000+ pages of ideas and potential lines of enquiry to explore post graduation (so there is an up-side!).
Then there are the folios full of finished work. So far there are three A1 folios each full of work on paper, including acrylic, marker pen, pencil, traditional prints and - of course - digital prints, plus a few works constructed using office materials (self adhesive labels, graph and tracing paper).
Then there are the finished works on canvas, board and paper - rolled as it is too large for the folios.
And the basic material as-yet unformed, rolls of Fabriano paper, canvas, board, sketch books (journals to me), pens, paint, labels, paper (traditional and inkjet).
Plus of course, all the books and magazines, and not to forget many Gigabytes of digital work, bookmarks, PDFs, etc., etc...
The plan is to wait until graduation before looking seriously for more space. Can I make it that long - I really don't know!
The reason - for no new art - is that I have been tidying and organising the ever decreasing space that poses as a studio. Ever decreasing due to cramming more and more into it, so much so it is bursting at the seams!
After three years at college I have created a dozen journals, each one with 80 to 100 pages of notes, drawings and diagrams. So already I have a 1,000+ pages of ideas and potential lines of enquiry to explore post graduation (so there is an up-side!).
Then there are the folios full of finished work. So far there are three A1 folios each full of work on paper, including acrylic, marker pen, pencil, traditional prints and - of course - digital prints, plus a few works constructed using office materials (self adhesive labels, graph and tracing paper).
Then there are the finished works on canvas, board and paper - rolled as it is too large for the folios.
And the basic material as-yet unformed, rolls of Fabriano paper, canvas, board, sketch books (journals to me), pens, paint, labels, paper (traditional and inkjet).
Plus of course, all the books and magazines, and not to forget many Gigabytes of digital work, bookmarks, PDFs, etc., etc...
The plan is to wait until graduation before looking seriously for more space. Can I make it that long - I really don't know!
Monday, 29 June 2009
the palette as art
Having realised this palette as an entity in its own right, it seemed a natural step to adapt it into an outcome.
palette one reordered by revad david riley (120cm x 45cm, 2009)
The title includes 'reordered' because the base RGB values are near the horizontal centre, when originally they were to the extreme left (not an image I have shown here). But, in this outcome the palette is organised:
-135 ,-90 ,-45 , RGB, +45, +90, +135, +180
So we have - and + shifts from red on the top, shifts from green in the middle, and shifts from blue on the bottom.
The line work is derived at the interface between the colours and includes colours not in the original palette. These new colours were created from the interaction between the original colours.
palette one reordered by revad david riley (120cm x 45cm, 2009)
The title includes 'reordered' because the base RGB values are near the horizontal centre, when originally they were to the extreme left (not an image I have shown here). But, in this outcome the palette is organised:
-135 ,-90 ,-45 , RGB, +45, +90, +135, +180
So we have - and + shifts from red on the top, shifts from green in the middle, and shifts from blue on the bottom.
The line work is derived at the interface between the colours and includes colours not in the original palette. These new colours were created from the interaction between the original colours.
colour palette
A palette of twenty four colours derived while exploring the circle and square phi series.
All colours have been derived from the basic RGB red, RGB green and RGB blue by shifting the hue using Photoshop's hue control.
In the circle and square phi series the shift was based upon the angle of rotation of the circle and square motifs. The rotations were made in steps of 45 degrees giving this palette of 24 colours (3 x 360/45).
All colours have been derived from the basic RGB red, RGB green and RGB blue by shifting the hue using Photoshop's hue control.
In the circle and square phi series the shift was based upon the angle of rotation of the circle and square motifs. The rotations were made in steps of 45 degrees giving this palette of 24 colours (3 x 360/45).
Sunday, 28 June 2009
315 : 4 panel
Last in the series for now.
315 : 4 panel by revad david riley (100cm x 100cm, 2009)
Have I answered any of my questions?
Well, these 2D images are certainly different to the 3D real-world images that inspired them.
For example, the painted shadow lines cannot reproduce the ability of real shadows to change with a variation in lighting. Instead they represent a snapshot taken at one imagined moment in time. There is still - to my eye - some level of ambiguity in the lines formed by the shadows, and I am sure these will be interpreted in different ways by different people.
In another sense these outcomes could also be considered as plans for real-world 3D installations. An idea I may pursue at a later date, or - more likely - incorporate into a different line of enquiry.
315 : 4 panel by revad david riley (100cm x 100cm, 2009)
Have I answered any of my questions?
Well, these 2D images are certainly different to the 3D real-world images that inspired them.
For example, the painted shadow lines cannot reproduce the ability of real shadows to change with a variation in lighting. Instead they represent a snapshot taken at one imagined moment in time. There is still - to my eye - some level of ambiguity in the lines formed by the shadows, and I am sure these will be interpreted in different ways by different people.
In another sense these outcomes could also be considered as plans for real-world 3D installations. An idea I may pursue at a later date, or - more likely - incorporate into a different line of enquiry.
Saturday, 27 June 2009
135 : 4 panel
Second in a short series exploring the potential for an intersection between my circle and square phi series and Ellsworth Kelly's large multi-panelled oil paintings.
135 : 4 panel by revad david riley (100cm x 100cm, 2009)
Can a digital outcome explore the same space as a large scale oil on canvas? Can there be the same focus on ambiguity of line? Can a 2D cyber-world representation capture the essence of a real-world 3D composition?
Just some of the many questions triggered by this line of enquiry.
135 : 4 panel by revad david riley (100cm x 100cm, 2009)
Can a digital outcome explore the same space as a large scale oil on canvas? Can there be the same focus on ambiguity of line? Can a 2D cyber-world representation capture the essence of a real-world 3D composition?
Just some of the many questions triggered by this line of enquiry.
Friday, 26 June 2009
000 4 panel
An intersection of:
my series circle and square phi;
a photographer's eye for a crop;
and inspiration from an article about Ellsworth Kelly (Art World, June/July 2009).
000 : 4 panel by revad david riley (100cm x 100cm, 2009)
I will be looking for more interesting crops for this line of enquiry.
my series circle and square phi;
a photographer's eye for a crop;
and inspiration from an article about Ellsworth Kelly (Art World, June/July 2009).
000 : 4 panel by revad david riley (100cm x 100cm, 2009)
I will be looking for more interesting crops for this line of enquiry.
Tuesday, 23 June 2009
circle and square phi gesture installed
Circle and square phi gesture has been installed, as a triptych, at revad.com.
In the real world, each image would be 80cm x 80cm (sans border) and the triptych would require wall space roughly 1 metre high by 3 metres wide.
Ideally, each image would be face mounted to perspex with a Dibond or aluminium backing. These would then be mounted to the wall via aluminium subframes, making the triptych appear to float slightly in front of the wall.
This would create a unique - if relatively expensive - installation.
Unique, because I would only ever allow one such installation, and expensive due to the cost of this mounting technique. You can checkout Genesis Imaging for details of typical costs, before my artist premium is added (the actual price is always negotiable).
But, until a commission is agreed, we will all have to satisfy ourselves with this small cyber-world internet installation.
In the real world, each image would be 80cm x 80cm (sans border) and the triptych would require wall space roughly 1 metre high by 3 metres wide.
Ideally, each image would be face mounted to perspex with a Dibond or aluminium backing. These would then be mounted to the wall via aluminium subframes, making the triptych appear to float slightly in front of the wall.
This would create a unique - if relatively expensive - installation.
Unique, because I would only ever allow one such installation, and expensive due to the cost of this mounting technique. You can checkout Genesis Imaging for details of typical costs, before my artist premium is added (the actual price is always negotiable).
But, until a commission is agreed, we will all have to satisfy ourselves with this small cyber-world internet installation.
045 : circle and square phi gesture
Last of the current series - making a triptych.
045 : circle and square phi gesture by revad david riley
(80cm x 80cm, 2009)
But I will - no doubt - return to this theme in the not too distant future.
045 : circle and square phi gesture by revad david riley
(80cm x 80cm, 2009)
But I will - no doubt - return to this theme in the not too distant future.
Monday, 22 June 2009
315 : circle and square phi gesture
315 : circle and square phi gesture by revad david riley
(80cm x 80cm, 2009)
From the same basic idea as 000 : circle and square phi gesture, rotated 315 degrees (or -45 degrees) with a similar adjustment to the hue, and a variation in the layer order.
Sunday, 21 June 2009
random 001 : circle and square phi
random 001 : circle and square phi by revad david riley
(80cm x 80cm, 2009)
A mix from all eight base images, seeded by a set of thirty six random numbers (sourced from random.org).
2 1 7 7 4 2
7 1 8 7 1 3
3 4 7 4 6 1
4 8 6 5 7 5
2 7 7 4 8 8
5 5 6 1 8 6
Friday, 19 June 2009
circle and square phi gesture
The first outcome from the crossover of three lines of enquiry: phi, circle and square, and gesture.
000 : circle and square phi gesture by revad david riley
(80cm x 80cm, 2009)
When commissioned (the original of) this work would be realised as an 80cm x 80cm archival print face mounted to perspex with a Dibond backing. There would be no border and, when hung, the piece would appear to float away from the wall.
000 : circle and square phi gesture by revad david riley
(80cm x 80cm, 2009)
When commissioned (the original of) this work would be realised as an 80cm x 80cm archival print face mounted to perspex with a Dibond backing. There would be no border and, when hung, the piece would appear to float away from the wall.
Thursday, 18 June 2009
the source of circle and square phi
I was a ‘60s teenager;
Victor Vasarely; Bridget Riley; Joseph Albers; Sol LeWitt;
Fibonacci; Phi;
Logic truth tables;
RGB; CMYK;
Hue; Rotation;
My own lines of enquiry (e.g. circle and square and phi );
A master artist’s use of assistants (e.g. Vasarely, Riley and LeWitt);
My own use of technology to replace such assistants (i.e. using Photoshop, Painter, the Internet).
Victor Vasarely; Bridget Riley; Joseph Albers; Sol LeWitt;
Fibonacci; Phi;
Logic truth tables;
RGB; CMYK;
Hue; Rotation;
My own lines of enquiry (e.g. circle and square and phi );
A master artist’s use of assistants (e.g. Vasarely, Riley and LeWitt);
My own use of technology to replace such assistants (i.e. using Photoshop, Painter, the Internet).
art is for sale...
...otherwise it is just a personal amusement.
At least that is my current way of thinking!
Keeping that philosophy in mind, my work is now for sale as follows.
First. Very small web sized renditions can be viewed here on the Internet - for free. Clicking images and links will take you to various locations were the work is installed.
Second. A selection of work can be purchased via the two accounts I have at redbubble: revad and codedimages. The products on offer have been carefully selected to complement and not compete with the originals.
Third. Original works are available via direct negotiation with me. This includes digital work, were the original is usually a unique number 1 of 1 handled and signed edition. Created (in the real-world) specifically for you, this is the only signed edition on offer.
Fourth. Larger installations are available on commission. Some concepts are highly adaptable toward a very personal, or indeed corporate outcome. Please contact me if you have a specific need.
Like making work, selling is a journey, so if you have a specific need then please make contact. You never know, your idea might trigger a new way of thinking or a new and productive line of enquiry.
See revad.com for contact details.
At least that is my current way of thinking!
Keeping that philosophy in mind, my work is now for sale as follows.
First. Very small web sized renditions can be viewed here on the Internet - for free. Clicking images and links will take you to various locations were the work is installed.
Second. A selection of work can be purchased via the two accounts I have at redbubble: revad and codedimages. The products on offer have been carefully selected to complement and not compete with the originals.
Third. Original works are available via direct negotiation with me. This includes digital work, were the original is usually a unique number 1 of 1 handled and signed edition. Created (in the real-world) specifically for you, this is the only signed edition on offer.
Fourth. Larger installations are available on commission. Some concepts are highly adaptable toward a very personal, or indeed corporate outcome. Please contact me if you have a specific need.
Like making work, selling is a journey, so if you have a specific need then please make contact. You never know, your idea might trigger a new way of thinking or a new and productive line of enquiry.
See revad.com for contact details.
Wednesday, 17 June 2009
circle and square phi at revad.com
A new 3 x 3 arrangement of the circle and square phi random kinetic installation has been featured at revad.com.
Tuesday, 16 June 2009
circle and square phi installation
The basic parameters of colour, layer and rotation have been applied in a methodical way to generate a series of eight images.
The images are designed to be installed as a single work. This has yet to be achieved in the real world - it will only happen if the work is commissioned- but there are now three installations in the cyber-world of the internet.
Two static installations can be found at redbubble, one on my codedimages account home page and the other in a group forum thread. They are essentially the same installation, the only variables being framing and presentation size.
The third installation is this kinetic version. A version driven by the redbubble promotion code associated with my codedimages redbubble account.
circle and square phi kinetic by revad david riley (2009)
The promotion code widget presents quite low resolution versions of what are very high resolution files (nearly 10,000 x 10,000 pixels). Clicking an image in the presentation will take you to redbubble to view a high quality web sized version of that image.
I'll leave the construction details for your own consideration and speculation.
Note: as usual at some point the redbubble code may not function - during maintenance of that site for example. So if the above installation is not working then please visit again at a later date.
The images are designed to be installed as a single work. This has yet to be achieved in the real world - it will only happen if the work is commissioned- but there are now three installations in the cyber-world of the internet.
Two static installations can be found at redbubble, one on my codedimages account home page and the other in a group forum thread. They are essentially the same installation, the only variables being framing and presentation size.
The third installation is this kinetic version. A version driven by the redbubble promotion code associated with my codedimages redbubble account.
circle and square phi kinetic by revad david riley (2009)
The promotion code widget presents quite low resolution versions of what are very high resolution files (nearly 10,000 x 10,000 pixels). Clicking an image in the presentation will take you to redbubble to view a high quality web sized version of that image.
I'll leave the construction details for your own consideration and speculation.
Note: as usual at some point the redbubble code may not function - during maintenance of that site for example. So if the above installation is not working then please visit again at a later date.
overlapping circle and square phi
One of many possible overlapping compositions
overlapping circle and square phi by revad david riley
(13 x 13 units, 2009)
This composition will be used as a base for further exploration. The first variation changes the layer position of each basic shape by moving the 3 unit green circle to the back layer, making it partially obscured.
alternate overlapping circle and square phi by revad david riley
(13 x 13 units, 2009)
More to follow.
overlapping circle and square phi by revad david riley
(13 x 13 units, 2009)
This composition will be used as a base for further exploration. The first variation changes the layer position of each basic shape by moving the 3 unit green circle to the back layer, making it partially obscured.
alternate overlapping circle and square phi by revad david riley
(13 x 13 units, 2009)
More to follow.
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