Thoughts on the ART of hospitality

Art 'experiences' which occur outside of traditional galleries can be such an unexpected pleasure; experiences to both share and remember.

When responding to a site, I see it as my ‘job’ to create art works which connect ‘the viewer’ to a place, an idea, a good feeling; to take them somewhere they didn’t even know they wanted to go! Pieces do not necessarily need to make big statements, they can ‘speak quietly’ and be harmonious with their environment - imagery that slowly draws you in. 
 
As an artist who also curates exhibitions for hospitals, I am always mindful of how people might respond and feel to pieces. We all connect to art in different ways and that's what makes it so wonderfully personal but one thing is clear….. there is much more chance of ‘a connection’ when an artist has been mindful of how the art might be perceived whilst at the same time staying true to their ‘own voice’.

This bridging of respect for the feeling’s of others and confidence in what you personally have to offer is what I think of as the art of balanced sensitivity - something independent hoteliers provide as a matter of course with their uniqueness and warm hospitality!

Consider Constable

I’m continuing work on my Consider Constable series… seeking out the precise places Constable created his paintings, absorbing the feel, history and sense of time passing where he and I stood.  As a result, each image in the Consider Constable collection has a strong connection to his work and life. He was innovative, brave, prolific and hard-working and I want my images to carry a sense of this past into the present.  Please see the prints section of the website for completed works.

Featured image: Pastures Present and Past Years Present looks towards Dedham from Constable’s father’s mill at Flatford.

Luxury hotels becoming fine art spaces

This article talks about luxury hotels but in actual fact, I would say it applies to the greater hotel population!  As an artist, I am excited about the fact that art can potentially reach more audiences by coming out of galleries and into hotels.  Not only does art enhance the uniqueness of a hotel environment but it provides a way for guests to connect with the art itself and the spaces the art 'lives in'.

Luxury hotels are becoming fine art spaces to rival many galleries . . .

Alex Toledano, a Paris-based art consultant whose clients include Ritz-Carlton hotels, says: “Hotels, especially hotel owners, recognise that they have been spending a decent amount on art for many years without it doing anything special for their property. They’ve realised that the money could be used not only to tell an interesting narrative about their properties but also to make them more memorable."

He adds that hotels used to purchase decorative art from “manufacturing companies” that churned out works in bulk. “Now you’re starting to see the desire of hotels to ask more of the artwork to make their property unique, rather than resembling many others.”

There is also a move away from abstract art, previously considered the “least offensive” form, he says. “Now, hotels are willing to take more of a risk. That is what is making art in hotels exciting right now. Our clients are asking for a diversity of art that we wouldn’t have expected a couple of years ago.”

Source article

Brain scans reveal the power of art

According to a recent study, works of art can give as much joy as being head over heels in love.

Human guinea pigs underwent brain scans while being shown a series of 30 paintings by some of the world's greatest artists.

The artworks they considered most beautiful increased blood flow in a certain part of the brain by as much as 10 per cent – the equivalent to gazing at a loved one.

Paintings by John Constable, Ingres, the French neoclassical painter, and Guido Reni, the 17th century Italian artist, produced the most powerful 'pleasure' response in those taking part in the experiment.

Works by Hieronymus Bosch, Honore Damier and the Flemish artist Massys – the 'ugliest' art used in the experiment – led to the smallest increases in blood flow. Other paintings shown were by artists such as Monet, Rembrandt, Leonardo da Vinci and Cezanne.

Professor Semir Zeki, chair in neuroaesthetics at University College London, who conducted the experiment, said: "We wanted to see what happens in the brain when you look at beautiful paintings.

"What we found is when you look at art – whether it is a landscape, a still life, an abstract or a portrait – there is strong activity in that part of the brain related to pleasure.

"We put people in a scanner and showed them a series of paintings every ten seconds. We then measured the change in blood flow in one part of the brain.

"The reaction was immediate. What we found was the increase in blood flow was in proportion to how much the painting was liked.

"The blood flow increased for a beautiful painting just as it increases when you look at somebody you love. It tells us art induces a feel good sensation direct to the brain."

The test was carried out on dozens of people, who were picked at random but who had little prior knowledge of art and therefore would not be unduly influenced by current tastes and the fashionability of the artist.

The magnetic resonance imaging (MRI) scan measured blood flow in the medial orbitofrontal cortex, part of the brain associated with pleasure and desire.

The study, which is currently being peer reviewed, is likely to be published in an academic journal later this year.

Professor Zeki added: "What we are doing is giving scientific truth to what has been known for a long time – that beautiful paintings makes us feel much better.

"But what we didn't realise until we did these studies is just how powerful the effect on the brain is."

The study is being seized upon as proof of the need for art to be made as widely available to the general public as possible.

Image shown: Constable's Gold, part of my Consider Constable series.

 


 

 

Source: http://www.telegraph.co.uk/culture/art/art...

Kant's Sublime Shortlisted

It has been a good year so far for Kant's Sublime as it was shortlisted for the Royal Academy Summer Exhibition and National Open Art Competition.

The Kant's Sublime was inspired by a lecture. Studying extracts from The Critique of Judgement by German Philosopher Kant I was fascinated by his theories on art; ways of seeing, interior and exterior mapping in the mind. 

I became transfixed by the marks on the edges of the photocopied lecture handouts, making copies of these copies. I cut them up, collaged them and photographed them over again.

A simple photocopy sent me thinking about Kant’s philosophies in the everyday. These prints are a visual outcome of his theories on perception. Hundreds of years later his thoughts have both informed and become part of my landscape.

Drawing with Light

"Impressionists were actually realists as they believed the truth came from light.  We only see things because of light, therefore we ought to paint in white and/or the colours of the rainbow, no black.  They said there was no fixed reality, only fleeting moments (Monet), like a reflection in a pond, it is all transient"   Unknown.


As an artist who usually uses photography at some point of my creative process, I love this quote as it reminds me of the definition of photography - drawing with light.  On sunny days like these it is easy to acknowledge and appreciate fleeting moments as the light is more obvious; dancing between shadow and light.  There seems to be a direct link between the energy of light and the creative flow. As an artist, I see it as an honour and responsibility to acknowledge 'the fleeting'.

 

In the image of Kant

After attending a symposium about the German philosopher Kant, I became fascinated by his theories on art, ways of seeing, interior and exterior mapping of the mind.

Although intrigued by his theories, I also found myself transfixed by the physicality of his words; specifically the edges of the pages of his ‘Critique of Judgment’ manifested as parallel marks made by the photocopied handouts

I introduced these marks to my mapping process; collage, camera lens and software.

Two and a half centuries later his thoughts have informed both perception and representation by becoming part of my visual outcomes.

Prints will become available in the shop section.