Aaron Angell
12 Feb - 02 Apr 2016
AARON ANGELL
Variations on the Chaldon Doom
12 February – 2 April 2016
Sad as Dowland
Not
primarily for love yet
sad as Dowland I
am thinking beyond
the millions of things. That the
structure that does not exist is yet more real I
neither fathom nor query. It is the
smear, the
blossom on void I am
baffled by, overtossed
and would be as
dumb as-
(though wd for
choic evaporate
utterly into the waste of coordinates
D.M. Black, 1969
I spent a lot of time when I was a child building bonfires and riding some sort of motorbike in a ruined field behind the small church which holds the Chaldon Doom. Our ‘Garden of Earthly Delights’, this 12th century ochre painting of the purgatorial ladder is unique in Europe and probably the world. It follows a cruciform composition in order to aid with the reading of the painting’s activity, a by-product of which is that it also splits the composition of the image into a manageable grid. The vertical beam is a ladder, the crossbeam a bar of clouds. I have made eight new pictures on glass for this exhibition which are deeply influenced by its combined compositional balance and clutter of symbolism.
Variations on the Chaldon Doom
12 February – 2 April 2016
Sad as Dowland
Not
primarily for love yet
sad as Dowland I
am thinking beyond
the millions of things. That the
structure that does not exist is yet more real I
neither fathom nor query. It is the
smear, the
blossom on void I am
baffled by, overtossed
and would be as
dumb as-
(though wd for
choic evaporate
utterly into the waste of coordinates
D.M. Black, 1969
I spent a lot of time when I was a child building bonfires and riding some sort of motorbike in a ruined field behind the small church which holds the Chaldon Doom. Our ‘Garden of Earthly Delights’, this 12th century ochre painting of the purgatorial ladder is unique in Europe and probably the world. It follows a cruciform composition in order to aid with the reading of the painting’s activity, a by-product of which is that it also splits the composition of the image into a manageable grid. The vertical beam is a ladder, the crossbeam a bar of clouds. I have made eight new pictures on glass for this exhibition which are deeply influenced by its combined compositional balance and clutter of symbolism.