Barry Flanaganさんのイラストまとめ

“I think it's quite touching, actually, to recognize the artist's hand in a work ... they are open to a field of possibilities” Sophie Bouvier Auslander on seeing the presence of Flanagan's hand as central in 'Imaginary Solutions'. Watch the film https://t.co/7IBGhGO5Kp

Invited by Goethe Institute, Japan Flanagan designed 7 Peace Kites in '87. Taking the Rokkaku form, a traditional fighter kite often hand painted with famous Samurai faces, Flanagan's conveyed a peaceful message, using the character for 'peace'.
Photo Nagel Auctions, Stuttgart.

Issue six of @SNYWY is now online and focuses on themes of liquidity & the vessel and includes an extensive interview with #JohnNewling, Gertrude Gibbons on emerging artist #MattiaPajé, a poem & paintings by #FabianPeake & a video work by @AdamChodzko. https://t.co/g1whRGyOVO

Early CAD drawings of Flanagan’s Rowford Process designs. Previously interested in taking work off plinths he explored alternatives to the generic white version. Using strips of ramin, & fixing these with brass pins the design constituted an intricate lattice work.

Flanagan printed over 10 colour variants of 'Pilgrim' before deciding on the bright red used for an edition of 30 in 1981. Inspired by the Long Man of Wilmington, cut into Windover Hill in Sussex, the linocuts also relate to linear bronze sculptures made in the same year.

"Flanagan stated that the activity of making sculpture was an extension of our three-dimensional experience of the world..sound & light were as much part of his sculptural vocabulary.."
Jo Melvin on 'shadow catcher ‘77/79' in this months Visual Artists' News Sheet@VisArtsIreland

A week today 'Alchemy of the Theatre' opens at Waddington Custot. Focussing on Flanagan's widely celebrated bronze works the exhibition explores the theatrical elements of Flanagan’s sculptures. See 'Musical Hare on a Crescent and Bell' (1995) @wcg_london 4 March-18 April 2020

The Collège de ’Pataphysics commissioned Flanagan to design a stamp. He produced a ‘frog hare’ motif for it, a morphological transformation between amphibian and mammal. Here a leaping 'Frog Hare' (1999), with spiral eye, is cast in bronze and gold-plated.

Flanagan often used rope in his work, exploring knots or making drawings on the floor with it, connecting spaces. In 'oh! mind how you cross’ a figure of eight is combined with a stone & wood figure, perhaps recalling the loss of a brother in a sailing accident the year before.

Flanagan made many works with light as a primary component beginning in '68 with his film ‘light, shape, short’. This work, 'light piece' (1977), a projection in the shape of a bulb filament has shown at @Tate Britain, @StedelijkMuseum @krollermuller & @haywardgallery.