View allAll Photos Tagged palimpsest
Ghost sign on a wall in Owosso, Michigan. This sign is at least two ads on top of one another. One is for Quaker Oats and the other is for Mail Pouch Tobacco.
Waterfall in the Lincoln National Forest, Sacramento Mountains, outside of Cloudcroft, New Mexico - Near the Tunnel.
June, 1936, engine "The Ox."
THE PALIMPSEST, APRIL, 1932
FROM BELLEVUE TO CASCADE
Beside the North Fork of the Maquoketa River, situated on the line between Jackson and Dubuque counties, lies the town of Cascade. As a pioneer village it was neglected by all the early railroad building activities, and the lack of such transportation threatened for a generation to doom the community to oblivion.
At intervals for thirty years, various projected railroad schemes included Cascade on their route, only to fail, one by one, leaving the community in deeper despair. The earliest of these proposed roads was the “Ram’s-Horn”, first broached in 1848. It was to have extended from Keokuk to Dubuque by way of Iowa City, Cedar Rapids and Cascade. An “air line” directly across Iowa, passing from Bellevue through Cascade, was suggested, but interest in this road was soon overshadowed by a more promising “Southwestern” route from Dubuque, which likewise pledged a station at Cascade. The organization of the Davenport and St. Paul seemed promising but it “also went up in thin air”.
If ever a community had reasons to feel discouraged Cascade certainly did. Outside aid had apparently failed, and it seemed that the town would have to build the railroad if there was ever to be one. Various citizens bestirred themselves.
On October 13, 1876, Dr. W. H. Francis of Cascade wrote to Captain M. R. Brown of Bellevue concerning the feasibility of constructing a narrow gauge road from Bellevue to Cascade. The matter “met with instant favorable response on the part of the people of Bellevue.” All winter the subject was discussed. On March 9, 1877, a meeting was held by the citizens of Bellevue for the purpose of organizing and financing a preliminary survey for a narrow gauge road to Cascade.
Not until August 4, 1877, however, was the Chicago, Bellevue, Cascade and Western Railroad Company organized at Bellevue. This arrangement was apparently not entirely satisfactory, for another meeting was held at Garrytown and a third at Cascade on August 30th when final details were settled. Officers and a board of directors, including three men from each township on the route of the proposed road, were elected. It appears that capable, energetic men were chosen, who believed that the road could actually be built. From the name of the company it may be assumed that the promoters held high hopes that the new railroad might eventually become an important link in a trunk line across the State connecting with the Milwaukee narrow gauge then building westward to Galena from the lakes.
The project was eyed jealously by Dubuque, for the “gate city” did not welcome competition at Bellevue. According to a Cascade Pioneer editorial in September, 1877, D. A. Mahony was urging “the business men and capitalists of Dubuque to take active steps to build, or assist in building a Narrow Gauge Railway to Cascade,” and warning them that “the loss of the trade of the southern part of the county” would be incalculable. He warned his fellow citizens that Cascade was “putting her shoulder to the wheel” in behalf of the Bellevue project.
“The time for action has come,” declared the editor of the Pioneer, “and our people have organized for a purpose, and that purpose is to secure a home market for the products of the surrounding country, and an outlet for other markets” by establishing rail connections with the grain market at Galena to the east and with the thriving cities on the Missouri River. “We understand”, he continued, “that Dubuque business men scoff at the very idea of the people of this section having the financial ability to construct the road. We beg to differ with them on that point, and refer them to the directory elected to manage the organization who alone if they chose to, or were required to furnish the capital could construct the line between Cascade & Bellevue.”
Even in those times, however, when the wages of unskilled labor were as low as fifty cents a day, railroad building was expensive, and few roads were completed without one or more reorganizations. The capitalization of the company was fixed at $200,000, and stock was distributed in sums ranging from $5000 to a few shares held by enthusiastic boosters along the way, some of whom, not having the money to pay, arranged to assist by working out their subsections with teams and labor. In 1878, a tax was voted in Bellevue and in various townships along the route. The people of Bellevue were particularly loyal in their financial support of the new road, as they felt such a railroad would be advantageous in securing the relocation of the county seat at that place.
Perhaps the most important task confronting railroad builders was the location of the route. The determination of the grade between Bellevue and Cascade was particularly difficult, for the altitude of the river town was only about six hundred feet above sea level while the table land only a few miles to the west attained an elevation of eleven hundred feet. But the financial support which might be expected from the various communities that were directly benefited was as important as the engineering factors in determining the location of the right of way.
At the lower end of Bellevue, Mill Creek empties into the Mississippi, and it was the valley of this little stream that afforded the only practicable opportunity of reaching the prairies inland. For a distance of about two miles, the line runs on the north side of Mill Creek, then crosses to the south side for about three miles, and thence returns to the north side, climbing steadily all the while until it emerges upon the uplands. Passing on westward with a great sweeping S curve, the road reaches the first station at the town of La Motte, eleven miles from Bellevue. A mile and a half east of La Motte is a long siding which is used for “doubling”, since the grade ascends there at the rate of about one hundred feet per mile.
Beyond La Motte the topography of the country is of bold relief, and the line contains many stiff grades and sharp curves. Passing Zwingle slightly more than four miles west of La Motte, the line continues down grade to Washington Mills on Otter Creek, twenty-two miles from Bellevue. About fourteen miles from Bellevue, the road passes into Dubuque County and thence along the county line between Dubuque and Jackson counties through Bernard and Fillmore to Cascade. At two sharp curves the right of way dips over into Jackson County for a distance of about a mile in each instance. Nineteen and sixteenths miles of the entire route lies in Dubuque County and sixteen miles in Jackson.
With very little ready cash in the treasury but with unswerving faith that the job could actually be accomplished, the directors launched bravely upon their undertaking and on September 19, 1878, the first ground was broken at Cascade. According to the Cascade Pioneer, it was an event “that will never be forgotten by the present generation. It was a grand gala day for Cascade and five thousand people were present to participate in the happy occasion.” The line was partially graded in Washington Mills, and some work was done at Zwingle and La Motte that year.
By the close of the season, however, the cash was practically exhausted and reorganization was imminent. On January 7, 1879, J. W. Tripp resigned the office of president whereupon Vice president James Hill assumed the management until March 1st, when he was made president. On May 9th, George Runkel, acting in behalf of J. F. Joy, a Detroit capitalist, proposed to take over the unfinished road and complete it without further delay, the offer was accepted and the old company’s franchise was transferred at Zwingle on May 17th to the Joy interest, operating under the name of the Chicago, Clinton, Dubuque & Minnesota Railroad Company. The new management prosecuted the work of construction with vigor, and on January 1, 1880, the road was completed from Bellevue to Cascade.
“At Last We Have It!” proudly announced the Cascade Pioneer. “On Monday it became apparent that the track would be completed to the town on Tuesday. Although no general celebration was announced, yet a large number of people gathered at the depot to see the last rail laid and the train come in. The laying of the track to the depot was completed at noon. Engineer Allen Woodward and his fireman, Sam Elmer, on No. 2, were patiently waiting for the completion of a switch east of the depot, while an immense crowd of men and boys occupied every available space on the cars, to enjoy their first ride on the narrow gauge.”
As soon as the switch was completed, “Woodward seized the bar of the throttle valve of No. 2” and backed the train up the track “as far as the O’Brien place,” then, reversing the lever, he “sent the little engine flying towards Cascade, and in a few minutes drew up at the depot” where a cheer of welcome went up from the multitude. Vice-president Runkel honored the members of the press by inviting them to ride in the cab of the engine. Among the number were John Blanchard of the Monticello Express, Tom Duffy of the Dubuque Herald, and the editor of the Pioneer.
More than fifty years have now elapsed since the celebration of this notable event in the history of Cascade, but the little narrow gauge trains still make their daily trip from Bellevue and return. At seven in the morning, after the arrival of the mail at Bellevue, the little engine and cars, constituting the mixed train, begin their “up” trip, which is made on the leisurely schedule of ten miles per hour. Between stations, however, considerably greater speed is attained than the schedule indicates, as one hour is allowed for climbing the steep grade up Mill Creek to La Motte. When business is heavy or the track is slippery, this is accomplished by “doubling”. The train is divided and part is taken up and side tracked at the summit while the engine and crew return to the bottom of the hill for the remainder of the train.
There is always considerable switching at the stations en route, “spotting” cars at the elevators, coal sheds, and stock-yard platforms, as well as the work of loading and unloading the local freight at the depots. Much of the schedules time is consumed in this manner, especially at Cascade where one hour and ten minutes is allowed for the turn around and work in the yards. At 11:25 A. M. the train begins its “down” trip to Bellevue, where it arrives in due time at 2:40 P.M.
A ride on the downward journey is a delightful experience. At places the train travels high on the edge of a precipitous bluff where wonderful vistas greet the eye in every direction. Again the track leads through deep valleys close to a crystal clear, gurgling little stream, hemmed in on either side by rocky ledges. But most of the way the route is across open farming country, more prosaic though none the less beautiful.
For the amount and quality of service expected, the road is well equipped with motive power and rolling stock. There are in use about fifty box cars, thirty-eight stock cars, twenty-six coal and flat cars, and one caboose. The passenger equipment consists of two coaches both of the combination express and passenger variety. Four engines, numbers 1, 2, 3, and 4, constitute the motive power of the road. A rotary snow plow is used to remove the deep drifts from the numerous cuts through the hills. The engines are of regular type, one with four drivers and three with six drivers about four feet in diameter. They are all equipped with automatic couplers and air brakes. Occasionally, when in need of repairs, they are loaded on a specially constructed flat car and transported to the Milwaukee engine shops at Dubuque or Marquette where they are repaired without being removed from the car.
Compared with modern transportation units, the little engines, cars, and coaches seem Lilliputian, yet for the territory served they are adequate. The trains are operated as efficiently and perhaps more economically than their more impressive neighbors out on the main line. Freight has to be transferred at the Bellevue terminal. Two small coal cars are required to handle the standard load of thirty tons, five narrow gauge box cars of grain fill only one large box car, and two narrow gauge stock cars make up one standard gauge carload of hogs or cattle. Formerly the task of loading and unloading was all done by hand and sometimes as many as ten or twelve men were employed in this operation, but in recent years modern machinery has been installed. A clam-shell bucket loader is used for transferring coal, and belt conveyors for grain and corn.
There can be no doubt that the building of the narrow gauge saved the life of Cascade. In 1876 it was only a straggling village, “lazying along side of a sandy street”. It had once been a way station on the Western Stage Company line, “but that means of transportation had long ceased to exit, when the railroads came west of the Mississippi river.” Only the existence of a few churches seemed to hold the town together. Then along came Isaac W. Baldwin with a few cases of type and a Washington hand press. Apparently “he had bout as much excuse for running a newspaper in this village as he would have had peddling peanuts in a grave yard”, but he exerted a decisive influence on public opinion by his Pioneer editorials. Cascade got its railroad, and in consequence grew into a prosperous community of more than twelve hundred inhabitants.
From time to time there have been several attempts to induce the Milwaukee to transform the road into a standard gauge, but the company has always maintained that the business was not sufficient to warrant the unusual expense due to the topography of the country.
Thus the sole survivor of the narrow gauge railroads in Iowa continues to function, perpetuating the history of an early phase of railroading. Tourists in northeastern Iowa who come across the Bellevue-Cascade railroad for the first time find it an interesting surprise. What impresses them as an amusing curiosity is none the less a genuine railroad of vital importance to a number of substantial communities
Changed and assembled with iPad apps PhotoWizard, Aquarella HD, and Procreate. One example of the kinds of changes that I made was to remove all the whitest white, creating a mask with open space where the white had been, and then showing colors from another painting underneath. Of course, most of the other colors have also been radically changed. And yet Klee's style still comes through very strong, I think, because he was so much into mixed media and layers himself, long before computer art and iPads were even imagined. Playing through all the steps of this process has given me ideas and methods to apply to more original pictures. This is very much an homage to Paul Klee, sort of themes and variations, remotely remniscent of what some music students improvise into a medley of parts of pieces from a favorite composer.
(At a student recital I once attended a medley of Erik Satie pieces was featured, which was most appropriate because Satie's pieces are themselves often very derivative, yet somehow distinctly original and oddly difficult to imitate -- so I've been told and can hear a little bit of for myself.)
The Coquihalla Summit Recreation Area is located along the Coquihalla Highway in British Columbia. The Recreation Area spans 5,750 hectares and was established back in 1987. There are 12 named mountains in Coquihalla Summit Recreation Area. The highest and the most prominent mountain is Needle Peak at 2,085 feet. The region was established to help protect the Coast-Cascade dry belt and landscape along the highway. The region is unique as it acts as a geological transition zone between the Coastal Mountains and the southern interior environment. Because of this, the Coquihalla Summit Recreation Area is a diverse landscape full of granite peaks, butte, plateaus, and historical features throughout.
Coquihalla Summit Recreation Area
The region has long been a major transportation route between the coastal region and the interior of British Columbia. This route dates back to the Hope-Nicola Trail in 1876 with aboriginal groups using it long before that. Remnants of the old Kettle Valley Railway, which exists from the early 1900s to the 1960s, can still be found today. The Recreation Area offers breathtaking views for those driving through the region but is best viewed by going a hike, backcountry skiing, and snowshoeing in the winter months.
Major trails and hiking areas
Needle Peak Trail: As the highest and most prominent peak in the Recreation Area, the hike to the summit of Needle Peak is worth the elevation gain. The trail totals 5.3 miles out and back with 2,683 feet of elevation gain. At the beginning, the trail crosses creeks before entering the forest, after climbing for a few miles the trees thin with panoramic views of the surrounding mountains. Near the top, hikers must scramble over large boulders in order to reach the summit. In cooler months, many of the rocks become slippery when covered with snow and ice so it is recommended that hikers come prepared with crampons.
Needle Peak. Coquihalla Summit Recreation Area
Flatiron via Needle Peak Trail: The trail to Flatiron begins the same as the route to Needle Peak. However, once the trees begin to thin, hikers turn right to head towards this nearby summit. The route totals 6.9 miles with 2,844 feet of elevation gain. At the summit hikers are greeted with the crystal-clear waters of a summit lake.
Yak Peak Trail: The trail up to Yak Peak is no easy feat. The route totals just 3.7 miles out and back with 2,519 feet of elevation gain. Yak Peak Trail follows the highway for a bit before a steep incline takes hikers to the summit. The seemingly smooth rock face of this peak distinguishes it from others in the area that tend to be more rugged. The last half of the climb is a scramble up the rock face in order to reach the summit.
Yak Peak. Coquihalla Summit Recreation Area
Zoa Peak Trail: This 6.1-mile hike has 2,286 feet of elevation gain. The trail climbs through the forest and steadily before a steep increase after a few kilometers. From there the trail follows a ridgeline up to Zoa Peak with Falls Lake seen below. At the summit hikers can see nearby Yak, Nak, and Thar peaks.
Neglected old building in the harbour district of Montrose, Angus.
A palimpsest of layers of materials and use. I would hesitate to guess how old the place is, but it's in a sorry state now. New-ish padlock though.
From the earliest recorded times, people have gravitated toward the rocky areas of what is now the Gettysburg Battlefield. Native Americans camped and hunted amidst its boulders. Local civilians had pleasure outings and political rallies among the rocks of Spangler’s Spring in the 1840s and 1850s. Escaping slaves are said to have used the boulders along Rock Creek for shelter. A young artist named David Forney climbed atop the tallest boulder in what would become the Slaughter Pen and carved his name into the rock in 1849. Another local man, Emanuel Bushman, who waxed philosophical about the origins of the rocks at Devil’s Den, wrote, “My own opinion is that they were a solid pyramid many hundred feet high … if they were pressed together every one would have its place to fit.” Still other local people used the rocks for more practical purposes, as is evidenced by the substantial quarrying remnants across the battlefield.
Historians have written countless words about the Battle of Gettysburg but one geologist’s take was “the Battle of Gettysburg, was essentially an effort by the Confederate army to drive the Union army” from the outcroppings of the Gettysburg Sill. According to geologists the Sill is a 200-million-year-old formation of York Haven diabase rock a mile wide and 1,800 feet deep. The Sill accounts for the boulder-strewn surface of Devil’s Den, Little Round Top, Culp’s Hill and other places. Ignorant of their mineral composition, Gettysburg citizens simply referred to the rocks as “Gettysburg Granite.”
The soldiers who fought at Gettysburg, however, had a more immediate concern — getting around, though, atop and indeed behind these unmovable objects. Confederates wrote about the boulders on Culp’s Hill and Big Round Top as obstacles to their advance whereas Union troops wrote even more about their defensive properties. As the troops settled in, both sides built stone walls and hid behind whatever rocks were near.
After the battle, many of Gettysburg’s boulders were frozen in time as backdrops for some of the Civil War’s most iconic photographs — dead Confederate soldiers at Devil’s Den and the Rose Farm, fortifications on Little Round Top and large, daunting boulders on Culp’s Hill. More than 100 years later, using their photographs and these diabase formations, historian William A. Frassanito precisely located the camera positions of dozens of views showing death, destruction and remnants of the fighting. By identifying when and where these images were recorded, Frassanito created a new field of study — photographs could now be used as a historical resource instead of as simply illustrations.
Rocks were also used as guideposts for interments and were major impediments to the burial crews — so much so that rocky areas were generally the last places cleared of the dead. Even for the living, the rocks could represent the worst of things. One visitor to the hospital of the Union Second Corps recalled a “black-haired handsome youth of an Alabama regiment.” In his delirium-induced “raving the prominent subject was those ‘awful, awful rocks.’”
A 'left over' part of the facade when the new addition was put on to the College of Architecture and Landscape Architecture at the University of Arizona. Sometimes the best moves are 'negative' ones where something gets removed.
Encoding on a Palimpsest : I think I'm spending too much time with statistics peering into patterns trying to divine meaning beneath the randomness. Yet this seems to be where the patterns live and dance. Chlorophyll leaching out of a leaf with dust on top lit from above by intense sunlight.
In order to image the manuscript, Abigail Quandt had to disbind it. This took a long time, because the spine of the book was covered in glue. This is a rare action shot.
Learn more at the Archimedes Palimpsest Project Website:
I first went to Leighton House Museum in 2014 to see a site specific performance by Palimpsest. It was such a beautiful building. When I heard that Flaming June (usually resident in Puerto Rico) was returning for an exhibition I knew I had to go and see her & the house again.
It's a strange thing, coming face to face with an iconic image. The closest thing I can liken it to is when you see someone from television in real life and feel like you know them, when of course you don't. She was completely radiant, and *so orange* something that really doesn't translate in the multiple reproduction images.
There's no photography allowed in the house itself (unfortunately so, because it's very beautiful) so this is a photo I took in Holland Park, just before my phone died, leaving me stranded and not knowing my way back to the road, let alone the tube station!
neue wache, unter den linden, berlin
denkmal...
it is as if all german architects today aspire to the pre-minimalist minimalism of the neue wache.
its 1993 refurbishment going back to the original neoclassicism of heinrich tessenow must be a key event in current german architecture - somehow making this piece of architectural palimpsest a viable modernist monument in the eyes of the local practitioners.
and deeply moving it is - but the example to follow in germany must be that of hugo häring, hans scharoun, behnisch und behnisch: an architecture of diversity and individualism rather than high-strung romantic gestures flirting with the void.
ultimately, the purity on display here stems from the very same german idealism whose victims the building in its latest form commemorates.
we took a number of pictures there, the blur of this one shows the quality of light coming from tessenow's single, central, unglazed skylight best.
architect karl friedrich schinkel, 1816-1818. royal guard house.
architect heinrich tessenow, 1931. memorial to the fallen in the great war.
architect unknown (to me), 1933. nazi refurbishment.
architect heinz mehlan, 1960. reconstruction as memorial to the victims of fascism.
artist lothar kwasnitza, 1969. new modernist interior.
artist...helmut kohl (?)...1993. memorial to the victims of war and tyranny.
Peintre, sculpteur, graveur et dessinateur, Julien Marinetti est un artiste qui s’est fait connaître en fusionnant la sculpture et la peinture, qu'il appelle "syncrétisme de l'art". Ses sculptures en terre, comme les bouledogues, pandas, pingouins et crânes, ont été ensuite transformées en bronze. Depuis 15 ans, son oeuvre phare, Doggy John, est devenue une icône et est exposée dans des villes prestigieuses à travers le monde, comme Paris, New York, Londres et Singapour, pour le plus grand plaisir des spectateurs.
L’auteur de cette ménagerie déjantée se révèle être l’artiste contemporain Julien Marinetti, à la fois sculpteur et peintre, qui signe ici une collaboration avec L’auteur de cette ménagerie déjantée se révèle être l’artiste contemporain Julien Marinetti, à la fois sculpteur et peintre, qui signe ici une collaboration avec Mendelsohn Gallery. Si l’influence cubiste de Picasso se ressent dans son travail, puisqu’il représente une de ses inspirations majeures, Marinetti mélange les styles pour un résultat unique, particulièrement palpable dans ses sculptures d’animaux géantes et colorées. Chat, chien, panda, et même Casimir, ces drôles de bêtes à l’apparence arc-en-ciel portent un nom tout aussi singulier, les Juliengoths, comme une sorte de descendance imaginaire de Julien Marinetti.
À l’angle des Champs-Elysées, alors que Yayoi Kusama attire déjà l’œil sur la façade de Louis Vuitton, s’installent jusqu’au 16 mars 2023, les sculptures géantes de Julien Marinetti contemporain. Tout le long de l’avenue George V, une dizaine de sculptures animales vous attendent.
Originaux et insolites, ces sculptures détonnent dans ce quartier chic de la capitale. En effet, c’est devant Vuitton, Hermès, le Prince de Galles ou encore le George V, que ces animaux et personnages posent de façon magistrale
DOGGY JOHN – Nous retrouvons la pièce iconique de l’artiste, sphinx des temps modernes contemplant le monde. Sous la forme d’un bouledogue français, représentant amour, protection et loyauté à son maître, se cache un regard acerbe et sans concession sur ses contemporains. C’est en 1998 que l’artiste imagine son célèbre Doggy John, en huile sur toile d’abord avant de s’affranchir des dimensions de la peinture pour prendre les formes rondes que lui offre la sculpture. Julien Marinetti donnera naissance à ce qu’il appellera ensuite le « syncrétisme de l’Art » à la fois peinture, gravure et sculpture. « Le chien est le catalyseur de mon syncrétisme de l’art, c’est-à-dire de sa totalité. Ce que je fais est bien du syncrétisme puisqu’il y a bien de la peinture, de la sculpture et de la gravure. Il y a aussi des vernis, des laques : je touche à pas mal de choses qui n’ont normalement rien à voir les unes avec les autres. » Julien Marinetti aime à penser aux moines copistes du Moyen Age, dont les palimpsestes nécessitaient eux aussi qu’ils reconditionnent le support original en grattant d’anciens parchemins.
Santa Maria Antiqua, consecrated in the 6th century and located at the foot of the Palatine Hill beside the Roman Forum (originally part of the Roman emperor Domitian's palace complex of c. 81-96 C.E.), consecrated in the 6th century with paintings from the 6th, 7th, and 8th centuries
A happy accident. I was trying to frame the numbers more perfectly, but they were too high up for me to look through the viewfinder, so I had to hold the camera at arm's length and hope for the best. This composition is much better than what I had intended!
Peintre, sculpteur, graveur et dessinateur, Julien Marinetti est un artiste qui s’est fait connaître en fusionnant la sculpture et la peinture, qu'il appelle "syncrétisme de l'art". Ses sculptures en terre, comme les bouledogues, pandas, pingouins et crânes, ont été ensuite transformées en bronze. Depuis 15 ans, son oeuvre phare, Doggy John, est devenue une icône et est exposée dans des villes prestigieuses à travers le monde, comme Paris, New York, Londres et Singapour, pour le plus grand plaisir des spectateurs.
L’auteur de cette ménagerie déjantée se révèle être l’artiste contemporain Julien Marinetti, à la fois sculpteur et peintre, qui signe ici une collaboration avec L’auteur de cette ménagerie déjantée se révèle être l’artiste contemporain Julien Marinetti, à la fois sculpteur et peintre, qui signe ici une collaboration avec Mendelsohn Gallery. Si l’influence cubiste de Picasso se ressent dans son travail, puisqu’il représente une de ses inspirations majeures, Marinetti mélange les styles pour un résultat unique, particulièrement palpable dans ses sculptures d’animaux géantes et colorées. Chat, chien, panda, et même Casimir, ces drôles de bêtes à l’apparence arc-en-ciel portent un nom tout aussi singulier, les Juliengoths, comme une sorte de descendance imaginaire de Julien Marinetti.
À l’angle des Champs-Elysées, alors que Yayoi Kusama attire déjà l’œil sur la façade de Louis Vuitton, s’installent jusqu’au 16 mars 2023, les sculptures géantes de Julien Marinetti contemporain. Tout le long de l’avenue George V, une dizaine de sculptures animales vous attendent.
Originaux et insolites, ces sculptures détonnent dans ce quartier chic de la capitale. En effet, c’est devant Vuitton, Hermès, le Prince de Galles ou encore le George V, que ces animaux et personnages posent de façon magistrale
DOGGY JOHN – Nous retrouvons la pièce iconique de l’artiste, sphinx des temps modernes contemplant le monde. Sous la forme d’un bouledogue français, représentant amour, protection et loyauté à son maître, se cache un regard acerbe et sans concession sur ses contemporains. C’est en 1998 que l’artiste imagine son célèbre Doggy John, en huile sur toile d’abord avant de s’affranchir des dimensions de la peinture pour prendre les formes rondes que lui offre la sculpture. Julien Marinetti donnera naissance à ce qu’il appellera ensuite le « syncrétisme de l’Art » à la fois peinture, gravure et sculpture. « Le chien est le catalyseur de mon syncrétisme de l’art, c’est-à-dire de sa totalité. Ce que je fais est bien du syncrétisme puisqu’il y a bien de la peinture, de la sculpture et de la gravure. Il y a aussi des vernis, des laques : je touche à pas mal de choses qui n’ont normalement rien à voir les unes avec les autres. » Julien Marinetti aime à penser aux moines copistes du Moyen Age, dont les palimpsestes nécessitaient eux aussi qu’ils reconditionnent le support original en grattant d’anciens parchemins.
The Palimpsest Wall in the Presbytery of S Maria Antiqua, Rome. Six layers of decorations dating from the 4th to the 8th Centuries.
how is that word spelled anyway? I have same line drawing of chopstick-use instructions on my bulletin board at work so I'm glad someone turned it into Art.
Another piece that I showed at Perpendicular, an exhibition in St Nicholas Church, Gloucester.
This is handwritten text of some of the many different versions of John 1:1 ("In the beginning was the word etc"). It's written on genuine parchment, which I then wet, which made the ink run and the parchment buckle.
At the private view of this exhibition, I did a performance where I recited the various versions of this famous Bible verse, starting with the oldest.
You can find out more about my art on my website.