12 research outputs found
Borrowed scenery [Image no. 5470]
Copyright of the artist.For more information about this item, browse to http://hdl.handle.net/102.100.100/336
Borrowed scenery : Detail [Image no. 5471]
Copyright of the artist.For more information about this item, browse to http://hdl.handle.net/102.100.100/336
The materiality of truth : a universal language [Image no. 5477]
For more information about this item, browse to http://hdl.handle.net/102.100.100/336
In the mirror [Image no. 5476]
For more information about this item, browse to http://hdl.handle.net/102.100.100/336
Face to face [Image no. 5481]
For more information about this item, browse to http://hdl.handle.net/102.100.100/337
In the mirror [Image no. 5475]
For more information about this item, browse to http://hdl.handle.net/102.100.100/336
Face to face [Image no. 5485]
For more information about this item, browse to http://hdl.handle.net/102.100.100/337
Perceptions of space and realities
Beardmore describes her work as using three languages - the informative/textual layer, the photographic image and the material itself - each one presented with such fragility tat they cannot be collectively discerned. To engage fully with one involves relinquishing another. It is an unreliable experience in which no single language can be relied on to create coherence, and one which 'highlights the uneasy balance between experience and understanding; a fragile relationship in the body of knowledge currently being transformed by the pure possibility of access.' Source: Printmaking at the Edge by Richard Noyce, A&C Black, London, pp.91-94. ISBN: 0713667842.For more information about this item, browse to http://hdl.handle.net/102.100.100/308
Perceptions of space and realities
Beardmore describes her work as using three languages - the informative/textual layer, the photographic image and the material itself - each one presented with such fragility tat they cannot be collectively discerned. To engage fully with one involves relinquishing another. It is an unreliable experience in which no single language can be relied on to create coherence, and one which 'highlights the uneasy balance between experience and understanding; a fragile relationship in the body of knowledge currently being transformed by the pure possibility of access.' Source: Printmaking at the Edge by Richard Noyce, A&C Black, London, pp.91-94. ISBN: 0713667842.For more information about this item, browse to http://hdl.handle.net/102.100.100/307
Borrowed scenery [Image no. 16703]
Copyright of the artist.For more information about this item, browse to http://hdl.handle.net/102.100.100/485