Not exact matches
As students we were doing lots of things around our paintings while we were making miniatures: checking our colour palette and tools at the edge of the
paper, trying out different kinds of lines while making the borders, even
tracing figures then hiding them
behind a thick layer of paint.
These large - scale photographs are developed by hand in a spinning drum process that agitates the chemistry over the photographic
paper that lines the interior of the drum — a process that often leaves
behind traces on the resulting image.
But slowly, as I worked over the course of many visits, I became more and more interested in the small
traces left
behind in the books... stains, scribbles, marginalia, scraps of
paper.
Perhaps best known as the futuristic vision
behind projects like the Umeda Sky Building in Osaka and the Kyoto Station Building, Hiroshi Hara turned literary, philosophical and theoretical texts — ranging from the Chinese classic Zhuangzi and the Greek Odyssey, to mathematical treatises by Leibniz and PoincarĂ©, and from Kafka's The Castle to TS Eliot's «The Waste Land» and Kenji Miyazawa's Night on the Galactic Railroad — into the basis for conceptual architectural / meta - physical sketches on sheets of ethereal
tracing paper that covered the walls of the museum.
It appears that the artist placed a strip of white
paper horizontally in a surface that looks like wet snow and pulled it up, leaving
behind its impression, and then simply laid it down vertically, allowing one to mentally
trace and replay the action.