Over the last month I’ve been doing an introductory programming course on EdX called Think. Create. Code. It’s been very rewarding. The course was very well paced, going through the basics of programming using Processing.js, a visual programming language.
Processing.js is the sister project of the popular Processing visual programming language, designed for the web. Processing.js makes your data visualizations, digital art, interactive animations, educational graphs, video games, etc. work using web standards and without any plug-ins. You write code using the Processing language, include it in your web page, and Processing.js does the rest. It’s not magic, but almost.
The mind … should occupy a neutral space in which seeing is the flexible interaction between unlabelled, projected and received information, and it should be in an unconditional state of focused empathy with its subject.
The orchid that P & S gave me last year for my birthday has a new stem of buds. I set out to draw the plant as taking a photograph, a good photograph, is rather hard. Drawing makes it easier to emphasise the things I find fascinating about an object, a plant, or a scene, and I can leave out things I find distracting.
I’ve started drawing aloes, well I’ve done one drawing and photographed and noticed more. Walking to the station, along Sydenham Road, there are clumps of aloes growing in several front yards. They are hardy plants that do for themselves. Easy to forget, but difficult to move once they’ve grown into a mound, spikey, robust, rubbery.
I love their grey green, blue grey, pink grey leaves edged with red, brown, green, grey spikes, their flower buds like snake heads, which grow up and out, curve and open, delicate bells in bright orange and yellow and red, the brittle stick left when the flowers are finished.
In a way they are hard to draw because nothing happens to them, they are hard, the light doesn’t bounce off them, the shadows they cast are emphatic, they don’t bob or sway in the breeze, they don’t shimmer or ripple. But all the same they are elegant shapes, with subtle curves, mazes of overlapping, interlocking leaves, quite fascinating.
First day back at Artwork. Drawing a small clump of native ginger Alpinia caerulea.
I’ve started reading Teel Sale and Claudia Betti’s book Drawing A Contemporary Approach, I’ve had it for a while. Getting back to artwork I thought I’d follow along with them, so the charcoal drawing is a gestural drawing, several layers, rubbed out and done again. The coloured, oil pastel drawing is quite small, so not exactly made of gestures, more made of shapes and the overlapping of the colours, yellow and blue, red and white.
Alpinia caerula 1, Lynn Cook, May 2015, oil pastel on paper
Alpinia caerula, Lynn Cook, May 2015, charcoal on paper
I’m looking at Paul Cézanne’s The Bather, c 1885. It’s in The Museum of Modern Art in New York, but I’m looking at it in a book and online.
I’ve copied it in blue, red and yellow colour pencils. The photograph is much brighter than the original.
It is the first painting in the book that Matthew lent me, 350 Works from The Museum of Modern Art, New York. I’m not sure why it is the first, because the 2nd plate is an older work, a photograph of lace made by placing the lace directly onto the photographic plate. That’s beside the point. Although is it? Here in this painting of The Bather we have a very awkward looking figure, almost like plasticine, lumpy and stick like, sausage fingers, very muscular knees, a twisted mouth. The boy doesn’t look like a boy at all, he isn’t real, but that’s what photography is for, to replicate things, like the lace, each fold and detail. Really? No, photographs also are translations, one thing to another.
The landscape is interesting, perhaps a beach, or a river bank in mist. I like the greys and beiges of the background, I like his pale skin, the strong outlines around the crooks of his arms. He’s like a Morandi pot come to life, before Morandi. He is right at the front, almost about to step out. His back foot could come forward and out of the screen, I’m looking at it on my computer. I was thinking about children drawing and the trouble of trying to get them to put a figure in context, as if, if you do that it can’t come out of the page, it gets stuck. But this is the same, the context is there but it’s not convincing, the bather is walking away from it, goodbye beach, goodbye river.
When we were at Mt Beauty, at Cass’s house, I did some drawings. I’ve laid them all out to look at.
I like the drawings, they remind me of being at the house, sitting outside in the strange triangular spaces formed between the house and the fences. The layers of green, yellow, purple, that dark bronze red of ornamental fruit trees, the green grey of the mountains.
I’m trying to work out what to do with these drawings, where to go from here, attempt to describe the layers of space, the rampant growth, the peace.
On holiday in Mt Beauty, I started the day pruning, cutting back the wisteria, which grows enthusiastically and vigorously into the house. Having sorted that out I went down to check out the shops. The op shop had books at 50c each. I got 5. This one The English Garden has beautiful black and white photographs, of mainly, what I would call the parks of stately homes.
I also got Sunset House: more perfume from Provence by Lady Fortescue, pub. 1943. The memoir of a woman who bought a cottage in olive groves near Antibes.
Also two more gardening books: Landscape Gardening by Richard Sudell, pub. 1933, and Unusual Vegetables by the editors of Organic Gardening and Farming, pub. 1978. Fascinating!