Maine talks about Place of Origin as ‘like a studio project’. Ideally some of those other voices would also tell this story, since I am sure they also have several things to tell. Graciously they allowed the artists to set aside that design and implement their own. The three artists who collaborated on Place of Origin were John Maine RA, Brad Goldberg and Glen Onwin RSA. Robbie Finnie and Mike Kinghorn built most of the viewpoint. All of these works might be referred to in a discussion of site specific work, and all clearly change places and modify our understanding of their contexts. Kemnay Quarry is a substantial hole in the top of Paradise Hill adjacent to the village, but is largely invisible from the settlement. Some of this visual material was used to keep the project moving forward. Satellite view of Australia's capital city, Canberra, whose name comes from a Ngunawal language word meaning "meeting place". Within the paths they had formed two circles and connecting lines which clearly resemble the sort of symbols used by Picts to represent mirrors. In this way Place of Origin, though a sculptural exercise, is more significantly an exercise in drawing attention to the context, the surrounding landscape, the human intervention in that landscape. ‘I’ seems egotistical, but ‘we’ conflates everyone into a unity: different roles, skills and personalities are obliterated. At that stage I did not envisage a collaborative project such as resulted, rather that there be some dialogue and planning around the relationship between works and to the site. I’ve never seen anyone on ‘Sawtooth Ramps’, nor have many people actually visited ‘Sprial Jetty’ (although those that do do walk on it). The viewpoint, constructed out of some 100,000 tonnes of quarry waste and other subsoil material, takes its cue from a number of key visual characteristics of the locality. My aim from the outset was that the project should be artist-led. Some people believe that this is in part because Bennachie’s most prominent ‘top’, the ‘Mither Tap’ is shaped like a female breast. This article has been published on the PAR+RS web site. Place of Origin was a revitalising approach to working with artists, material, place and industry. In the 1950s, artists like Jackson Pollock led the movement toward abstraction with Abstract Expressionism.… The village is fast becoming a dormitory for Aberdeen, and the connection with the industrial history is less visible. Firstly and inevitably we might look at the work of Robert Smithson. I’ll return to these sources. Crafting reflects the culture, tradition and history of a place and lives long after the culture has undergone modern transformations. This concept is used in Japanese garden design to bring the larger landscape into the garden. The work draws on Jencks’ interest in cosmology and complexity. Second, Italian culture was such that origin was part of the oral traditions often passed on to posterity. The Chinese way of appreciating a painting is often expressed by the words du hua, “to read a painting.”How does one do that? We went […]. This area of developing woodland, shaped by the artists, provides public access to the viewpoint on the rim of the Quarry. History of Art - Photography. As the crow flies it is perhaps 15 miles, but the journey was taken as a huge spiral from Aberdeen across the North East of Scotland, into the Highlands to Ullapool, With what was to become a regular feature of the 10 years, we took a diversion around Assynt, an area known to Onwin, before crossing to Lewis to visit Callanish. The origin of "painting the town red" comes from the drunken activities of huntmens in Melton Mowbray. I want to tell you what this project reveals about making sculpture. ( Log Out /  The rise across the whole site is perhaps 30m, but as you walk, once the trees reach maturity, you will have the experience of passing through a much greater range of environments, foreshortened. The past history of Philippine Art has gone through various process for its production. Prehistoric cave paintings are among the world’s first-known and least-understood works of art. Although many drawings were done, as well as contour models of the site, in the end the artists went out with the JCB and cut the path network intuitively based on their walking the site in front of the JCB, and their understanding of the contours and desire lines. The question was ‘How high up and how far away from the edge will give us a safe vantage point?’. The History of Portraiture. Is there a difference between art and craft? There are a number of works that I would reference to contextualise Place of Origin. As a brief aside I have noticed recently that the artists’ photography of the project is very important. In describing the project Maine talks about ‘making the landscape as art, rather than placing art in the landscape’. His work, As Above, So Below, was commissioned as part of the programme at the Henry Moore Studios in Halifax. ( Log Out /  Richard Cole’s Windy Nook outside Newcastle-Gateshead has more in common with Place of Origin that these others. Painting, the expression of ideas and emotions, with the creation of certain aesthetic qualities, in a two-dimensional visual language. Design emerges from shared visual investigation and visual dialogue. Although these books certainly performed a role in keeping the artists’ thinking coherent over extended gaps, I believe this collaboration developed, at least in part, because of the approach Maine took to bringing the team together. Our physical experience of these different works is also informative. 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