Reading on Catriona Leahy’s talk, to describe her primary source in printmaking that focuses on industrial arts in 17th centuries. Helps to research her approach to a particular way to study with landscape development.
Leahy’s project: “Aesthetics of Disappearance“
Viewing onto a series of coloured prints, manipulated them into Leahy’s methods of ink painting that could adapt to its spiritual influence in any kinds when examining this selected factory and expanding on her wall to affect my point of criticizing its state of architectural arts.
Reviewing on her “Albatross factory”, to examine it’s origins of bring with most unnatural structures putted together in several papers used in Japanese arts, to impact its true motives can achieve since closing down and to learn from its outcome of job losses.
Furthermore to examine its aftermaths, is how spiritual arts roam its once craftsmanship like ghosts, mainly to discuss its deep layers which are decayed in the 60s and it could be accomplished in its present or future.
Leahy’s Website: http://catrionaleahy.com/2012.html
From her primary evidence of industrial arts, Leahy used a reflected portrait to produce in certain edges of shaping an imagery effect merged into their difference modern and old architectural purposes in metalwork.
Next up is a peculiar structure of luminous papers of “Latent Afterglow”, it has a unique detail of sparkling-arts within their inner textures of dull materials added into bright lights and which is combined in Carrera Marble/Cast Concrete to shape each of their untidy state.
Looking into appearances of unexpected makeups, to had a connection to natural space when manipulating their fabrics of resembling a glowing/geometric methods. To adapt with directions of illominis energy, as they transcended our felts of emotions and how I can adapt with decorated arts of steel textures.
From Leahy’s feedback on industrial printing, are improving on environmental arts used for perspective ways to organize with different metal manipulations and my proposal of outer structures of deep textures.
Finally to view on studio’s floor of an artwork called “Relief in Time” what it tells me of several lines in coal dust that Leahy used in freestyle space not crowded and what it helps to evaluate from a reflected London’s Underground map.
At my aftermath on Leahy’s talk, allowed her influence of industrial arts to affect on my last years technique in foam manufacturing and how I would learn to organize my future project with Leahy’s technique.
