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tristesse engraved

september 2011 issue


contents **** page 3-12: ilka gedo * page 13-21: amanda thomson * page 22-45: hornsea pottery * page 46-54: lighthouses * page 55-58: marcus kuerten * page 59: irmas bronte * page 60-70: casey joseph deming * page 71-91: urduja manaoag * page 92-103: the art of memory *


ilka gedo since coming across a website featuring Ilka Gedo’s entire oeuvre I have been fascinated by this sadly neglected artists work, especially the notebooks & scraps of paper covered with text, colours & abstract designs. I strongly recommend visiting the website dedicated to her work & exploring it further:

http://mek.oszk.hu/kiallitas/gedo_ilka/ Ilka Gedő was born in 1921. Her father taught at the Jewish grammar school of Budapest, and some of the leading Hungarian writers and artists of the times were among the familyʼs circle of friends. She started her artistic career in the late 1930s visiting private art schools. The anti-Jewish measures and the upheaval of the war came, but Gedő carried on creating a significant body of graphic works. As a Jew, in 1944 Gedő was imprisoned in the Budapest ghetto, and she drew a remarkable series of ghetto drawings. She avoided the horror, instead representing isolated people of puzzlement, uncertainty and despair in her drawings. After the war Gedő gained admission to the Budapest Academy of Arts, but she decided to leave the Academy and until 1949, when she stopped artistic work, had created a huge body of drawings that can be divided into series. She created self portraits which, through their sheer honesty and self-exploration, claim the viewerʼs attention. These works are drawn in a way that evokes straightforward physical reality and emotional sensitivity at the same time. Another series, Tables, is devoted to drawing a delicate, small table with an abundant variety of lines and shades, exploring the endless possibilities of representing the visual world. The third series resulted from repeated visits to the Ganz Factory in Budapest. A combination of silver and gold with pastel crayons transposes the factory rooms into almost mythical spaces. An interval of 15 years devoted to bringing up a family divides the oeuvre of this artist. Ilka Gedő presented her drawings in 1964 in her own studio. This exhibition gave her the impetus to resume work. In the 1960s, Gedő started to paint in oil. Her creative method follows the call of the instincts but does not forget the discipline of the intellect. She made “two-step” paintings. She first drew a sketch of her composition, prepared a mock-up and wrote the name of the appropriate colours into the various fields. She prepared a collection of colour samples, and she wrote where the colour would go in the places where they were ultimately applied. She never improvised on her paintings; instead she enlarged the original plan. On her paintings the strength of cold and warm colours appears to be equal. She created her paintings slowly, amidst speculations, recording the steps of the creative process in diaries so that the making of all the paintings can be traced. Gedő died on 19 June 1985, at the age of 64, a few months before her discovery abroad. The scene of the breakthrough was Glasgow where the Compass Gallery presented her paintings and drawings in 1985. Since then, many of her works passed into public hands: in addition to St. Stephenʼs Museum, Székesfehérvár, Hungary and the National Gallery of Hungary, many foreign collections acquired them (The Jewish Museum, New York, Yad Vashem Art Museum, Israel Museum Jerusalem, the Department of Prints and Drawings of the British Museum and the Kunstmuseum (Museum Kunst Palast) of Düsseldorf. please note: only low resolution versions of the following works were available, however I have included them simply because I hope as many readers as possible discover the work of Ilka Gedo.


amanda thomson www.passingplace.com

Amanda Thomson is originally from Scotland and has a 1st class degree from Glasgow School of Art. She completed a Master of Fine Arts at the School of the Art Institute of Chicago in 2008.

Her creative practice is ideas and research-led and fuses traditional and digital printmaking techniques, photography, bookmaking, video, 3-dimensional work and installation. Her work is often about how we are located (and locate ourselves) in the world, notions of space and place and absence or subtle presence. In October 2009 she started an arts practice led, interdisciplinary PhD at the University of the Highlands and Islands, with the University of Aberdeen. Based in the forests of the North of Scotland, and exploring ideas of familiarity, and coming to know, it draws on art, anthropology and human geography in particular, with an ethnographic element feeding into her arts practice.

no place like home digital print accordian book, 10.5 x 11.5cm, explores place, and the re-naming of place through emigration Two prints from the series, Several Forests, a series of twelve photopolymer etchings made for the show Several Forests which took place in October 2010 grey areas is a folio of twenty six embossed digital prints, which explore the ‘grey areas’ of identity, belonging, and how labels can change depending on who you are, what your perspective is and where you stand.


no place like home


tree etch # 1 (several forests)


tree etch # 2 (several forests)


hornsea pottery

a history of the iconic east yorkshire factory can be found at the Hornsea Museum site: www.hornseamuseum.com


‘Concept’ teapot designed by Martin Hunt 1977


‘Concept’ cup & saucer designed by Martin Hunt 1977


‘Concept’ jug designed by Martin Hunt 1977


slip covered dish designed in the 1950’s


‘Saffron’ pattern egg cups designed by John Clappison 1970


‘Springtime’ pattern container designed by John Clappison 1964-65


‘Aphrodite’ designed by John Clappison 1961


love mug ‘December’ designed by Kenneth Townsend 1970’s


love mug ‘April’ designed by Kenneth Townsend 1970’s


love mugs designed by Kenneth Townsend 1970’s


cat cruet set designed by John Clappison 1960’s


owl cruet set designed by John Clappison 1960’s


bird cruet set designed by John Clappison 1960’s


fish cruet set designed by John Clappison 1960’s


bird ashtrays designed by John Clappison 1960’s


‘Fauna’ mushroom cruets designed in the 1950’s


‘Muramic’ range pin dish designed by John Clappison 1970’s


‘Anvil’ vase designed by John Clappison 1970’s


‘Partridge’ mug designed by John Clappison 1967


oil bottle designed by John Clappison 1959


fish vase designed by Ronald Mitchell 1959


‘Studiocraft’ pattern vase designed by John Clappison 1965


mug designed by John Clappison 1976


lighthouses....


marcus kuerten marcuskuerten.com

Church of Saint Ursula, Cologne __________________________


Latidos - Irmãs Brontë prólogo: Prism and light Latidos gathers a selection of stories with a shared, uncommon ways of perceiving the world. Sometimes realistic and at other times delirious and poetic in tone, the authors journey through (briefly and fable-like) the hidden spaces between science, religion, paganism, nature, history, mythology and aesthetics, in a voracious curiosity and innocently available way of looking at the world. Crossing over borders shamelessly, they are drawing pathways as if to attempt to understand the world. - Pedro Nora The text above served as an introduction to the edition of Latidos published in Portugal in 2010. Each month a story from the collection, translated into english for the first time, will appear in tristesse engraved.

in front of her head ruins laugh loudly She would start always with a miniscule and dark dot which would start moving on the shiny face of a paper sheet. A dot with confidence to whom she was not afraid to show the ceaseless interest for the unknown. When the dot acquired its own energy, she would follow it from sight to know where it would take her. This would last for hours. She would laugh and sob. To at last find it a nonsense to write these letters that will never reach a destination.


Casey Joseph Deming Minneapolis, MN casey.deming@gmail.com As an experimental musician and curator of a bi-weekly improvised music series (http://tuesdayseries.com/), much of my work serves a promotional purpose for various musical / artistic performances throughout the Twin Cities. I also have done packing designs for bands (12", 7", CD, cassette) and have done layout work for local record labels DE STIJL and Soft Abuse.  I am currently working on a couple of origami-fold, screen-printed CD packages.  Samples of my work can be found here:  http://aptlull.com/


urduja manaoag ‘thoughts in progress, 2009’

email: contact@urdujamanaog.com


the art of memory circles


how soon unaccountable i became tired and sick, till rising and gliding out i wander’d off by myself, in the mystical moist night-air, and from time to time, look’d up in perfect silence at the stars.* (capturing light - walt whitman, when i heard the learn’d astonomer)


i.

sĂŠraphine louis - fruit (frucht)

ii.

william langenheim and frederick langenheim - eclipse, 26 may 1854

iii. susan derges - chladni figures, 1985 iv. anders ritter von ettingshausen - section of clematis, 4 march 1840 v-vi.rosalind franklin and r.c. gosling x-ray diffraction patterns of a and b forms of sodium salt of dna, 1952 vii. amĂŠdĂŠe guillemin - polychrome interference patters, le monde physique, 1882 viii. susan derges - hermetica (detail), 1993 ix. giuseppe pellizza da volpedo - the rising sun, 1904 x. alfred stevens - the milky way, 1885-1886

theartofmemory.blogspot.com invisiblebirds.org curated by diane granahan


tristesse-engraved.blogspot.com engravedglass.blogspot.com *

to submit or suggest material, to be added to the email list for future issue or for any comments, please contact by emailing: tempjez@hotmail.com * published by engraved glass / jrf *

all content is p&c by the artists involved *

tristesse engraved september 2011  

the creative arts - photography - pianting - montage - ceramics

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