Reflection

 

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Goff James,  Reflection, 2017, (Painting, The Three Kingdoms – Heaven, Earth and Hell © Artist Preecha Pun-Klum, MOCA, Bangkok)

Welcome To My Blog.

You are welcome to visit and join me by pressing the my link below.

https://goffjamesart.wordpress.com/

Thank you for sharing your time with me.

Have a wonderful day.

 

The painting, The Three Kingdoms – Heaven, Earth and Hell 

© Artist Preecha Pun-Klum, MOCA, Bangkok

 

The poem used here is the copyright of:

 goffjamesart/photography/poetry

Photograms Workshop 2, Klee’s Influence

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Goff James, White Crescent, Photogram, 2017

Welcome followers and visitors to my blog and another update in my photography diary. This week I have again been experimenting with photograms as well as introducing ideas from one of my favourite artists – Paul Klee.

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Goff James, White Crescent and Line, Photogram, 2017

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Goff James, WCrescent with Arrow, Photogram, 2017

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Goff James, 5 2 6, Photogram, 2017

 

I have taken some of Klee’s concepts and attempted to introduce them into photograms. I have taken the photogram and reconstructed elements onto the surface and then rephotographed the image and then experimented with them in an editing suite.

Art does not reproduce what we see; rather, it makes us see.

Paul Klee

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Paul Klee, Historical Site, 1927, Watercolour and ink on paper on board, 355 x 487 mm, Tate.

That which appeals with regard to PK’s work is that it is very difficult to partition him within particular single artistic movement. His works are at times both fantastical, childlike as well as being humorous.

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Paul Klee, Insula Dulcamara 1938  Oil on newsprint, mounted on burlap, 31 1/2 x 69 in; Klee Foundation, Bern

PK was fundamentally a transcendentalist. He considered that the world was composed of many differing realities and that the physical world was only one of them. I find such an idea very interesting in deed. The artist’s use of design, pattern, colour and miniature signs and symbols within his pictorial narratives all speak of a hidden depth and meaning which I find totally absorbing and have become part of my own practices. However PK compositional construction always appears to take precedence over narrative.

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Paul Klee, Tale à la Hoffmann, 1921, Watercolor, pencil, and transferred printing ink on paper, bordered with metallic foil, 311 x 241 mm, Location Unstated

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Paul Klee, Burdened Children,1930 Graphite, crayon and ink on paper on board, 650 x 458 mm, Tate

PK was fundamentally a transcendentalist. He considered that the world was composed of many differing realities and that the physical world was only one of them. I find such an idea very interesting in deed. The artist’s use of design, pattern, colour and miniature signs and symbols within his pictorial narratives all speak of a hidden depth and meaning which I find totally absorbing and have become part of my own practices. However PK compositional construction always appears to take precedence over narrative.

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Paul Klee, Walpurgis Night 1935, Gouache on fabric on plywood
Support: 508 x 470 mm, frame: 725 x 682 x 72 mm, Tate

Another aspect of PK’s work that appeals is the great sense of rhythm and transience that are present within his works as well as his powerful expressive use of intense colour. There is an affinity between between art and music and PK utilises this analogy throughout his portfolio.

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Paul Klee, Abstract Trio, 1923
Watercolour and transferred printing ink on paper, bordered with gouache and ink, 321 x 502 mm,
The Berggruen Klee Collection, 1984 (1984.315.36) MoMA NewYork

I admire the manner in which PK challenged the traditional boundaries that segregated writing and the visual arts through “exploring a new expressive, and largely abstract or poetic language of pictorial symbols and signs. Arrows, letters, musical notation, ancient hieroglyphs, or a few black lines standing in for a person or object frequently appear in his work, while rarely demanding a specific reading.”

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Paul Klee, Static–Dynamic Gradation, 1923
Oil and gouache on paper, bordered with gouache, watercolor, and ink, 381 x 261 mm,
The Berggruen Klee Collection, 1987 (1987.455.12), MoMA, NY.

PK’s work appeals in that it appears to be very childlike with a great sense of spontaneity, freedom and simplicity.

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Paul Klee, Ghost Chamber with the Tall Door (New Version), 1925
Sprayed and brushed watercolor, and transferred printing ink on paper, bordered with gouache and ink;,487 x 294 mm
MoMA, NY

I admire the manner in which PK’s work practice was fundamentally experimental in terms of technique, expressive use of colour and challenging accepted academic perceptions with regard to art and keeping his work within the realm of the “ordinary”.

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Paul Klee, Comedians’ Handbill, 1938, Gouache on newsprint,
48.6 x 32.1 cm, Location Unstated

Everything vanishes around me, and works are born as if out of the void. Ripe, graphic fruits fall off. My hand has become the obedient instrument of a remote will.

Paul Klee

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Goff James, Red Circle with Four Red Lines, 2017

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Goff James, 9, 2017

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Goff James, Box and Red Circle, 2017

Reference List

http://www.theartstory.org/artist-klee-paul.htm

https://www.guggenheim.org/artwork/artist/paul-klee

https://www.moma.org/collection/works/79456

https://www.lrb.co.uk/v36/n01/tj-clark/at-tate-modern

All photogram images used here are the copyright of:

© goffjamesart/photography/poetry

Thank you for sharing your time with me.

Have a great day.

Wat Ratchanadaram Woravihara (Loha Prasat) 2.

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Wat Ratchanadaram Woravihara (Loha Prasat) 2.

Blossoms’ fragrance fills

Sunset tiled pavilions gold.

Marble courtyard hushed.

Loha Prasat rests serene.

Silence’s music my heart uplifts.

 

https://goffjamesart.wordpress.com