Ruth Millar  

 

 

 

 

           1) X to the power of

           2) 0

           3) 0 to the power of

 

 

 

 

 

 

   Elaine Le Corre

 

   2D and 3D threaded works

 

 

   A series of experimental pieces that explore replacing the original  geometric solids

   with the aim of creating a 3D version of a mathematical equation, with the use of

   text or sequence of chance numbers as the basis for threading.

 

 

 

   paper and cotton thread

 

 

Elaine's image for illegitimate objects web page 1

   

   Gabrielle Hoad

 

   The Luminous Envelope

 

   This photographic series was made in response to Fresnel's Wave Surface, which

   describes the propogation of light in an optically biaxal crystal. The crystal's

   molecular structure causes light to reflect and retract in predictable ways, and the

   university's model offers a 'snapshot' of this wave front as it radiates from the centre.

 

   The model renders the behaviour of light as solid, interlocking plaster objects.

   The Luminous Envelope sets out to invert that process by dissolving tangible objects

   (cubes, cones, crystals) into zones of light. Techniques used to make the images

   incorporate polarisation, a phenomenon employed in the study of crystals.

 

 

   www.gabriellehoad.co.uk

ghoad_luminousenvelope 2 IMG_1711

 

   Felicity Shillingford

 

   Strings and Sequences

 

   Oxidised metal supports with broken strings are how the Martin Schilling string models

   look today. Reminiscent of the the string art which proudly hung on our walls in the

   1970's these were three dimensional and superior in structure and complexity. They

   had their own rhythm and systems that combined to describe a solid form. Naum Garbo

   used similar techniques in his constructivist sculptures, making flowing forms using

   perspex and fishing line ordering and balancing during a turbulent time in history.

   Strings and Sequences are explorations using wire thread, string and sequenced actions

   to create patterns or visual maps.

 

   

   

 

 

   

   www.felicityshillingford.co.uk

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   Stephen Lee

 

    Preparing for a Feast

 

   A table is being laid, one figure places a jug, the other is cleaning

   up something spilled. Objects strewn across the surface of the

   table are gradually being organised. The subject matter references

   art made in the Ancient Greek world and depicts the work of two

   servants. My drawing is about a way of looking at history where

   imagery is interpreted through a process that combines intention

   and chance, A sketch of pottery and cutlery initially drawn using

   ellipses and perspective on one side of the paper, seeps through

   to the reverse side forming a trace.

 

 

 

   www.stephenleesculptor.co.uk

 

 

 

 

   Iavor Lubomiro

 

   Outsider Maths

 

   Outside Maths is a poser, a fake, a bit of a chameleon. It is my own very personal

   response to the plaster cast teaching aids that underpin the exhibition it was created

   for. It's about a minor case of imposter syndrome while studying mathematics at the

   old Maths Institute nearly 20 years earlier. I came to Oxford from a state school in

   Leicestershire and from the start was never quite able to shake off a feeling of not

   quite belonging. Unusually, for a maths undergraduate, I had taken A-Levels in art

   and literature and after graduation my path quickly returned to art. Now, after two

   decades, I find myself at the new Maths Instiute looking at objects, most of which I do

   not recognise, but which all carry a familiar sense about them. The work I made for

   this unexpected homecoming wears these other objects' colours and grid patterns

   and could be taken for an elliptical torus at first glance. It sports a genuine loking label

   too, but is obviously a cuckoo. It is not an ellipsoid as the exaggerated label announces.

   It is also much larger and clearly not of the same material. Even it's equation is a put on

    - its horizontal cross section is composed of four quarter circles with two different radii,

   which are co-tangental at the joins and thus make a smooth whole. This is an old trick

   used by frame makers to create perfect ovals, which are not in fact ellipses, but rather

   sit in the family of French Curves. It is an exaggerated thing, of course, made with a

   dollop of nostalgia and a fair amount of self satirising. But Outsider Maths is still

   something that speaks the old language a bit, albeit with an accent, so while it may not

   belong, it does relate - like an unexpected second cousin at a work picnic.

 

    468 hand-curt laser prints on micron acetate sheets, jade adhesive 403N

 

    www.iavor.co.uk

  

    Tim Ellis

 

   02. Supported Sphere

 

   Oak, teak, pine, stone, acrylic, metal fixings and wood stain

 

    

 

    In response to the solids, I investigated their relationship to early modernist sculpture and the

    artists (Gabo, Hepworth and Moore) who first studied and were influenced by these forms.

    The solids themselves are characterised by complex sweeping forms, punctuated by straight

    lines and angles. Using materials associated with modernism, small unsystematic-sectioned

    maquettes, emphasising discord and balance were produced in response.

 

 

 

 

    www.timellis.org

 

   Kate Terry

 

   Regular Solids

 

   Kate Terry's practice encompasses sculpture, installation and drawing, exploring

   the interplay of the hand crafted in relation to repetitious and serial forms and

   gestures. Her sculptures consider concerns of weight and presence with direct

   emphasis on their physicality, form and colour associations. Terry has made a set

   of cast geometric solids that compromise various regular forms including hexagon,

   dome, and prism. The sculptures are highly pigmented using both fluorescents and

   sherbert-like hues. This arrangement of forms suggests a friction between an art

   object and a learning resource.

 

   

   

    www.kateterry.co.uk

   

 

 

 

 

Kate Terry_Regular_Solids_sml red

 

    Bella Easton

 

   The Congregation

 

   These graphite drawings and oil paintings form part of a new series of work

   that investigates order and glitch through fabricated landscape. Based on a

   large collection of plaster models of surfaces from the Mathematics Institute

   in Oxford, Easton resurrects these "illegitimate objects' like buried relics from

   the past by arranging them in a theatrically lit setting. The images are further

   overlaid with synthesized lens flare to construct ethereal landscapes. A

   scratched, disturbed space forms together from fragments, giving clues and

   suggestions to the source. Layers of squashed oil paint and drawn marks

   begin to form an emerging image. The 'Congregation' series continues her

   ongoing interest  for chirality where grid and image combine to form symetrical

   compositions.

   A system of geometry and layering orders repetition and mirroring in a way

   that established a connection between images of architectural spaces and the    

   pattern of the work itself. Easton's work negotiates between the real and the

   unknown and isolates or abandons reality and the realtionship between what

   may once have seemed ordinary and everyday is now given importance and

   permanence. The real and familiar becomes curious and esoteric.

   

   www.bellaeaston.co.uk

BellaCONGREGATION DRAWINGS red

   

   Luke Ralphs

 

   Cubic Surfaces

 

   The collection of models initially appeared to me isolated, like an impenetrable

   alphabet. The discovery of the straight lines, incised across the curved surfaces of the

   models, was surprising. When viewed from different angles, I imagined these to extend

   out, propelled into the surrounding architectural space, their trajectories echoing and

   bisecting the building's internal structures and perspectives.

 

 

 

 

 

 

 

 

     

   

   www.lukeralphs.info

image1

 

   Katrina Blannin

 

  Diamond - Vert Veronese - Clebsch

 

 

 

  Materiality and perception are key, but the idea of a visual proposition: a plan worked out

  in advance, has become the main thrust of an evolving methodology. Working with a kind

  of developing schema and experimental colour systems contradictorily produces

  unexpected results. The intention is not to obfuscate but to engage the viewer in visual play.

  Rotations, sequences or mirror images with a grid for a stage, rather than a single image,

  have generated ideas about movement and the method is often palindromic: a kind of

  visual ‘dance’, perhaps a choreographic drawing in paint.

 

 

  www.katrinablannin.com

 

 

   Sally Howkins

 

   Congruent and non-congruent forms

 

   

   Responding to the geometric models, their complex meaning

   and manufacture, I began looking at the shapes, straight

   lines and measurements in everyday objects.  Looking for

   parallels to the collection within these seemingly arbitrary

   shapes and designs, I have explored their internal spaces,

   dissected their forms, and experimented with tipping points

   and points of contact.

 

 

 

 

 

 

   www.artspace-kingham.com

IMG_1710

 

    Diane Jones-Parry

 

    Legitimate Drawings?

   

     "To draw a line is to have an idea,

    ideas become compounded as soon as you make the second line."  Richard Serra

     

    Encountering the collection of geometric objects, mysterious, seemingly

    solid forms that were really about surfaces, I looked at how and what they

    represented. Amidst talk of conics, curves, Cartesian coordinates, the

    algebraic equations from which the models are generated, I learned a

    ruled surface is swept out by moving a line in space. I explored the way

    conic sections figure in physical motion, recording events on a horizontal

    plane - drawn lines tracing curves, defining space, depicting movement.

   The drawings are relational and stand as themselves while referring to

    something other - an intentionally selective and specific form of representation.

 

   

    Titles: elliptical orbit, parabolic pathways, intersecting the periodic swing,

              point/ line/ surface/ fold/ (surface) x4

 

     

   Annabel Ralphs

 

   ‘Bin it’

 

   The Bourbaki quest for purity and rigour in mathematics left no room for

   models and diagrams. My work, however, focuses on imperfection and

   slippage inherent in realisations of ‘exact’ templates, measure and diagrams.

 

 

   Brass rule, drawing in clay from beneath the Andrew Wiles Building,

   waste-heaps at Portland Stone Quarry.

 

 

 

 

   

   

 

     www.annabelralphs.com

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