Brice Marden (all untitled)
All catalogue design for exhibition on housing in Catalunya - Astrid Stavro
I was struck by the simplicity of Stavro's pieces and loved the idea of taking a grid across a double spread as it seems more impactful visually and draws attention to the one design on the page. I would like to do this - possibly with text - in order to emphasise the story and so help add depth to my visuals.
London '12 typeface - Astrid Stavro
I could possibly experiment with making the grid obvious like here? It makes layouts more complex but also stays minimalistic which is what I am looking to explore. Could overlay rectangles or experiment with outlines?
Photographic cabinets - Henriette Van't Hoog
I love Beecroft's work. In future I would really like to experiment with bodies and their arrangement. Her work is so striking because of the juxtaposition of such organic forms and their geometric, mathematical layout. It is something (oddly enough) that I have never really considered before, even though I've seen her work before. It is almost military - there is a sense of penance with the arrangement of her models. To play with this in film for example would be something I'd love to explore, but for this project I do not have either the time nor the correct primary research for that.
The principle underlying the conception of the series is that the figures would be placed in a complex way and that the text would be complex to read. In achieving complexity only simple concepts were expressed in the most sparing but informative manner. All points are plotted relative to others and the only measurement employed is the half. Thus one point might be halfway between two others or a combination of others. The artist likens the system involved to that employed in plotting navigational routes and stated: ‘As soon as you find one point you can find another by finding its relation to any other point.’
I really like this idea of underlying complexity to the structure of grids. While they look simple, the use of words adds depth to the piece. I am considering this for my final outcome - I was previously debating making it simply a "visual journey" but adding text will hopefully create more layers to my piece.
All Voidwreck (Karl Nawrot and Walter Warton)
These pieces helped me to understand that a grid does not always have to use straight lines - circles, diagonals and other shapes form part of them too. This made me realised that instead of a rather restricting guideline the grid can be played around with. I want to experiment with circular forms. Perhaps also large 3D typefaces that fill the pages.
Proud 1st Kestnev Portfolio - El Lissitzky
Proun - El Lizzitzky
A Proun - El Lizzitzky
These works are beautiful and again emphasise how a grid does not have to be a series of straight lines.
Returning to an abandoned plant - Liam Gillick
Morning - Agnes Martin
Faraway Love - Agnes Martin
I began research by simply exploring the concept of grids in its simplest form as I have never properly studied them before. I was struck by the minimalistic beauty of them - especially Agnes Martin's pieces. I think her titles draw the viewer away from thinking of pure mathematics and to considering an underlying story, which adds depth to such simple pieces.
Drawing Templates - Karl Nawrot
Lÿon - Karl Nawrot
Pavilion at House Vision, Tokyo, 2016 - Sou Fujimoto
Judd, Gillick, Stocker and Fujimoto all demonstrate the use of the grid beyond the page. In the context of exploring grids, I find this very interesting, but if I simply saw them as sculptures or as designed furniture I would not be so struck. I especially like Stocker's work because it is much more obvious that she is exploring grids out of their normal context (Fujimoto too). Again I see that minimalism is very effective - especially Stocker who implies the idea of a grid by using only a few lines. Later on I would like to explore implying certain things - seeing just how little information is enough.