Test Page by Julian S.
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| Treetops Re-Modeled, 2007 |
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| Distance Circle, 2006 |
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| Reconstructions, 2006 |
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| Inventory, 2006 |
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| Reconstructions (Place Roger Prijou-Valjean), 2005 |
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| Grand Canyon and Wildwasser, 2005 |
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| London Eye, 2004 |
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| Catwalk, 2004 |
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| Coffee Stain, 2004 |
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| Potato Prints, 2004 |
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| Paintings (Squares), 2004 |
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| Negative Light, 2004 |
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| JPG-Artefacts, 2004 |
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| Chokes, 2003 |
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| White Square, 2001 |
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| Remember Me, 2000 |
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| Face of a Woman, 1999/2003 |
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| Tottenham Court Road, 1999 |
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Aberrations, 2009
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Installation, 2009
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Freeform, 2009
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Matrices, 2009
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Figure (ORTA), 2009
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Figure (Villa Elisabeth), 2008
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| Hammersmith & City, 2008 |
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| Studio 1.1, 2008 |
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| Wintergarden, 2008 |
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| Distance Circles, 2008 |
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| figure, 2008 |
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| Striped Shape, 2007 |
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| GPS Circle, 2007 |
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| Argeles Plage 2 & 3, 2007 |
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| The Premier Rose, 2007 |
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| New Cross Gate, 2007 |
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| Elastic Tree, 2007 |
EinfÄlle und ZufÄlle/ Tree-tops Re-modeled, 2007
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B/W Photographs (50 cm x 60 cm each), Rapid Prototypes, Wood Glass, 300 cm x
200 cm, 150 cm
This installation contrasts a series of rapid prototyped work with a
selection of b/w photographs from the early 90s in an attempt to see how the
two ends of a circle look like when they meet.
The selection of photographs is taken from Einfälle und Zufälle, a larger
body of work that was done using an old Kodak Brownie camera. The images in
this series were often taken at night or in bad light situations; the camera
was frequently pointing straight into artificial light sources. Visual
control of the images was impossible and so was the control of the exposure.
Point, open, ho----ld, and close. The work is part a diary and part an
experiment in seeing. It is also an expression of a moody life in search of
a future.
Treetops Re-modelled are still an experiment in seeing, and it is still a
diary. Data was collected in Catford (around the corner of my house),
Burgess Park (on my way to college), Ipswich (where I work), and Clapton
(where friends live). I photographed the tops of trees that had their
branches cut from various angles in order to re-create a 3-D space from
which the models were developed.
There is little on the surface that connects these two bodies of work. There
is much, however, in-between.
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Test Page by Julian S.
Michael Schwab
Contact
CV
Documents
News
International Seminar 'Light Touches'
Figures of Touch Research Project
University of Art and Design, Helsinki
10-11/06/2009
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The Difference between Art
and Art Research
Züricher Hochschule der Küste
23-24/04/2009
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Creative Practice, Creative Research
York St. John University
Download my paper in the 'Documents' section.
25-17/04/2009
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The Art of Research: Research Narratives
Chelsea College of Art and Design
28-30/10/2008
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Research into Practice conference
Royal Society of Arts
31/10/2008
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/seconds issue 9
vanishing point, the vicious and virtuous circle
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Conference Contribution and Exhibition
'Figurations of Knowledge'
5th Biannual European Conference of the
Society for Literature, Science, and the Arts (SLSA), Berlin
02 - 07 June 2008
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Paris
Book Launch
18 May 2008
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The Full Circle
A collaborative project by Eduardo Padilha and Michael Schwab
Studio 1.1, London
11/05 - 01/06/2008
Private View:
10/05/2008 6-8pm
Artists' Talk:
25/05/2008 3.30pm
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Full Circle Family Workshops
Gasworks, London
19 - 22 February 2008
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Keynote Paper and Exhibition
'Art and Research: How?'
International Conference at the Estonian Academy of Arts, Tallinn
14/15 February 2008
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Artist Talk
'figure' at the Tramdepot Gallery, London
3 February 2008, 2pm
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Figure
The Tramdepot
Private View Friday 25 January 7 - 11 pm
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As if something once mentioned, now plain to see
Book by COLONY, Birmingham
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The Full Circle
A collaborative project by Eduardo Padilha and Michael Schwab
Huisrechts, Amsterdam
13.9 - 16.10 2007
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Political Art 2007 Almanac
Reunion Projects
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Artistic Research and the Role of Critique.
In: van Koten, H. (ed), Proceeds
of Reflections on Creativity, 21 and 22 April 2006.
Dundee: Duncan of
Jordanstone College, 2007. ISBN: 1 899837 56 6.