12 research outputs found

    Borrowed scenery  [Image no. 5470]

    No full text
    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]

    No full text
    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]

    No full text
    For more information about this item, browse to http://hdl.handle.net/102.100.100/336

    In the mirror  [Image no. 5476]

    No full text
    For more information about this item, browse to http://hdl.handle.net/102.100.100/336

    Face to face  [Image no. 5481]

    No full text
    For more information about this item, browse to http://hdl.handle.net/102.100.100/337

    In the mirror  [Image no. 5475]

    No full text
    For more information about this item, browse to http://hdl.handle.net/102.100.100/336

    Face to face  [Image no. 5485]

    No full text
    For more information about this item, browse to http://hdl.handle.net/102.100.100/337

    Perceptions of space and realities

    No full text
    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

    No full text
    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]

    No full text
    Copyright of the artist.For more information about this item, browse to http://hdl.handle.net/102.100.100/485
    corecore