Brian Clarke: The Art of Light

Brian Clarke: The Art of Light



I think I've always liked the idea of dividing things up into modules the first time I consciously engaged the idea of the screen was in the 70s once it was clear that the screens were going to preoccupy a great deal of my time they kind of divided themselves into three categories Walden I called botanical because it was all about nature the second was cosmological because it was about more Universal issues in nature and the third was biographical I can't just attack the canvas like I'm an abstract expressionist I have to first give myself matrix a grid of some sort that I can then undermine order and chaos have always played a big part in not just the way I paint but in the way I live you can't have the organic urgency of invention without disturbing some kind of ordered matrix of some sort the screens are a way of getting stained glass into the culture through the back door they're not in churches it's not fixed to a building you don't have to travel to the portal or bobomb and see it you can actually move an exhibition of it around that it becomes portable art rather than architectural art I now have much greater and more demanding expectations of the medium than I had 40 years ago 30 years ago or even three years ago the screens have really unlocked an extremely exciting Pandora's box which changed the kind of glass we're having new kinds of glass blown and though essentially what you see in my screens is not that far distant from the craft of the Middle Ages it is fundamentally different from it in other ways and and so I can now dream up ideas for stained glass i that architectural er in the screens that up until two or three years ago nobody nobody would have ever really dreamt as possible

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