Robin Evans refiere en su artículo "Traducciones del dibujo al edificio", contenido en el libro "Traducciones", que el boceto y la maqueta están mucho más cerca de la pintura y la escultura de lo que un dibujo lo está de un edificio. Por los dibujos arquitectónicos el arquitecto consigue el objeto final, a diferencia del artista quien al final del proceso, manipulará el propio objeto para lograr su obra. Bocetos podrían considerarse gran parte de las acuarelas de William Turner, y sin embargo sus manchas nos regalan un mundo abierto de sugerencias. ¿Qué hay junto a Santa Maria della Salute en este cuadro?
The press collaboration 'Translations from drawing to building', contained in the book 'Translations from Drawing to Buildling and Other Essays', a collection of essays written by Robin Evans, says that sketches and models are pretty much closer to painting or sculpture than a drawing could be to a building. Doing architectural drawings, the architect gets an ending object, while the artist obtains a final result through the manipulation of the object at the end of the process. Many paintings done by William Turner could be considered as skecthes, even when some of his delicate stain painting give us an open world of suggestions. What's near by Santa Maria della Salute in this picture?
TURNER, William - The Dogana and Santa Maria della Salute, 1843. En National Gallery of Art, Washington.
Recuperado de http://www.nga.gov/content/ngaweb/Collection/art-object-page.46089.html
Recuperado de http://www.nga.gov/content/ngaweb/Collection/art-object-page.46089.html
Tras los mástiles de las embarcaciones, una serie de volúmenes escoltan el motivo principal. Apetece averiguar cuáles son, viajar hasta allí, comprobar en el propio lugar todo eso que, contemplando el cuadro, parece un mero efecto. Como mancha -la catástrofe en el corazón del acto de pintar, nos dirá Deleuze en "Pintura. El concepto del diagrama"- es el cuadro "Luz y color. La mañana después del diluvio", esa inmensa bola de fuego que atrae la vista del espectador primero hacia la mancha amarilla más oscura localizada en la parte central izquierda, para luego desplazar la atención hacia otras manchas ocres y añiles que se dirigen hacia el foco de luz. ¿Qué son cada una? ¿Son cabezas de seres humanos las primeras? ¿Cadáveres tal vez? ¿Rocas sedimentadas tras el arrastre provocado por el diluvio?
Many volumes escort the principal figure of the picture behind the masts of ships. You really want to know what kind of ships are, and travelling right now to Venice, check all that stuff suggested by the effect of a stain painting. Deleuze, in 'Pintura. El concepto de diagrama' (Painting. The concept of diagram), explains the fireball of the picture 'Light and Colour' done by William Turner as a kind of stain painting done with what he calls 'the catastrophe in the heart of the act of painting'. During the first moment, the huge fireball catches the attention of the viewer thanks to the darker yellow spot located in the center left. And only afterwards, the look goes to the ocher and indigo stains that follows the light focus. What are each of those stains? Human heads? Corpses? Sedimentary rocks after the drag done by the deluge?
Many volumes escort the principal figure of the picture behind the masts of ships. You really want to know what kind of ships are, and travelling right now to Venice, check all that stuff suggested by the effect of a stain painting. Deleuze, in 'Pintura. El concepto de diagrama' (Painting. The concept of diagram), explains the fireball of the picture 'Light and Colour' done by William Turner as a kind of stain painting done with what he calls 'the catastrophe in the heart of the act of painting'. During the first moment, the huge fireball catches the attention of the viewer thanks to the darker yellow spot located in the center left. And only afterwards, the look goes to the ocher and indigo stains that follows the light focus. What are each of those stains? Human heads? Corpses? Sedimentary rocks after the drag done by the deluge?
TURNER, William - Light and Colour (Goethe's Theory). The Morning after the deluge. Moses Writing the Book of Genesis 1843. En Tate Britain.
Recuperado de http://www.tate.org.uk/art/artworks/turner-light-and-colour-goethes-theory-the-morning-after-the-deluge-moses-writing-the-book-n00532
Recuperado de http://www.tate.org.uk/art/artworks/turner-light-and-colour-goethes-theory-the-morning-after-the-deluge-moses-writing-the-book-n00532
Estas dos diagonales -ocre, añil- que pierden fuerza a medida que se acercan al foco, envuelven una figura que parece resurgir en el centro: Moisés escribiendo el Libro del Génesis.
Pero es de otro Turner de quien quiero hablar, Arthur Turner, excelente pintor de acuarelas norteamericano (Houston, 1940-), que el pasado mayo expuso en Moody Gallery su último trabajo denominado "Roundels and Totems". Y me refiero a él porque las tensiones, transparencias y leves contactos que nos presenta en movimientos también circulares como aquel Turner británico del último cuadro comentado, impulsan fácilmente la imaginación de cualquier arquitecto hacia espacios todavía no creados.
These two diagonals -ocher, indigo -losing strength as they approach to the focus, wrap a figure that seems to resurgence in the center of the picture: Moses writing the Book of Genesis.
But is another Turner who I want to talk, Arthur Turner, great American watercolorist (Houston, 1940 -). On May 2013, Moody Gallery presented his latest work called 'Roundels and Totems'. If I mention him is because the tensions, transparency and mild contacts that he creates in circular movements, that remind me the other -british- Turner. And these stain paintings easily drives the imagination of any architect into spaces not created yet.
These two diagonals -ocher, indigo -losing strength as they approach to the focus, wrap a figure that seems to resurgence in the center of the picture: Moses writing the Book of Genesis.
But is another Turner who I want to talk, Arthur Turner, great American watercolorist (Houston, 1940 -). On May 2013, Moody Gallery presented his latest work called 'Roundels and Totems'. If I mention him is because the tensions, transparency and mild contacts that he creates in circular movements, that remind me the other -british- Turner. And these stain paintings easily drives the imagination of any architect into spaces not created yet.
TURNER, Arthur - Torso Roundel 2. En Moody Gallery Houston.
Recuperado de http://www.moodygallery.com/Artists/Turner/Arthur.html
Recuperado de http://www.moodygallery.com/Artists/Turner/Arthur.html
Manejando húmedo sobre húmedo, el artista tejano crea anillos por los que parece que discurrieran unas venas que los nutren; Arthur Turner realizará algunos zooms de cómo se produce ese encuentro, si es que se produce dicho encuentro.
Managing wet on wet, the texan artist creates rings with what it seems are some veins running to nourish them. Some zooms show us the way in which the meeting happen, if the meeting happens.
Managing wet on wet, the texan artist creates rings with what it seems are some veins running to nourish them. Some zooms show us the way in which the meeting happen, if the meeting happens.
TURNER, Arthur - Roundel Series 105. En Moody Gallery Houston.
Recuperado de http://www.moodygallery.com/Artists/Turner/Arthur.html
Estos anillos que vibran sobre el plano me recuerdan el relato titulado "El disco", de Borges, cuando dice "Es el disco de Odín. Tiene un solo lado. En la tierra no hay otra cosa que tenga un solo lado".
De alguna manera, parece que SANAA diera múltiples volúmenes a este disco borgiano en el Pabellón del Vidrio en el Museo de Arte de Toledo, donde una serie de burbujas de vidrio concatenadas dentro de dos grandes contornos existentes en el edificio, conectan entre si mediante accesos sucesivos. La regla únicamente salta en espacios complementarios, como son la cafetería y un patio interior cerrado, señalados en color en el plano adjuntado. La ausencia de jerarquía lo vincula a postulados propios del Movimiento Moderno defendidos por De Stijl, que equilibra la relación mediante elementos opuestos pero equivalentes, y la homogeneidad e isotropía del espacio en Mies van der Rohe.
These rings vibrating on the canvas remember me the story titled 'The Disk', written by Borges, and particularly when he writes 'is the Disk of Odin has only one side. In the Earth, there is nothing that has only one side'.
Somehow, it seems that SANAA could take this Borge's Disk and reinterpret with volumes the short story in the Glass Pavilion (Toledo Museum of Art): where a number of concatenated glass bubbles into two broad contours that define major part of the building, are connected to each other through successive accesses. The rule only is breaking in the complementary areas - food area and enclosed courtyard-, indicated in color on the attached plan. The absence of hierarchy postulates, links the Pavilion with the Modern Architecture defended by De Stijl (balanced relationship by opposing equivalent elements) or Mies vand der Rohe (homogenous and isotropic space).
De alguna manera, parece que SANAA diera múltiples volúmenes a este disco borgiano en el Pabellón del Vidrio en el Museo de Arte de Toledo, donde una serie de burbujas de vidrio concatenadas dentro de dos grandes contornos existentes en el edificio, conectan entre si mediante accesos sucesivos. La regla únicamente salta en espacios complementarios, como son la cafetería y un patio interior cerrado, señalados en color en el plano adjuntado. La ausencia de jerarquía lo vincula a postulados propios del Movimiento Moderno defendidos por De Stijl, que equilibra la relación mediante elementos opuestos pero equivalentes, y la homogeneidad e isotropía del espacio en Mies van der Rohe.
These rings vibrating on the canvas remember me the story titled 'The Disk', written by Borges, and particularly when he writes 'is the Disk of Odin has only one side. In the Earth, there is nothing that has only one side'.
Somehow, it seems that SANAA could take this Borge's Disk and reinterpret with volumes the short story in the Glass Pavilion (Toledo Museum of Art): where a number of concatenated glass bubbles into two broad contours that define major part of the building, are connected to each other through successive accesses. The rule only is breaking in the complementary areas - food area and enclosed courtyard-, indicated in color on the attached plan. The absence of hierarchy postulates, links the Pavilion with the Modern Architecture defended by De Stijl (balanced relationship by opposing equivalent elements) or Mies vand der Rohe (homogenous and isotropic space).
SANAA - Pabellón del Vidrio en el Museo de Arte de Toledo. Ohio, 2006.En Dezeen.
Recuperado de http://www.dezeen.com/2010/03/29/key-projects-by-sanaa/
Recuperado de http://www.dezeen.com/2010/03/29/key-projects-by-sanaa/
Dicha ausencia de jerarquías se pretende manifestar en la acuarela que se muestra más abajo, donde las piezas extremas, similares, protegen a una tercera que no llegaría a articular al conjunto en su totalidad, flotando todas ellas en ese magma azul que les permitiría funcionar de una cierta forma independiente.
I try to express this absence of hierarchies in the watercolor shown below, where the side pieces, similar, are protecting a third one that does not organize the whole, floating all of them in a blue magma that would allow an independently way to work.
I try to express this absence of hierarchies in the watercolor shown below, where the side pieces, similar, are protecting a third one that does not organize the whole, floating all of them in a blue magma that would allow an independently way to work.
Fotografía y obra: Juan Vélez
Obra: "Sin título". Acuarela original (2012), tamaño DIN A3 aproximadamente. Vendida a coleccionista privado.
Photography and artwork: Juan Velez
Work: "Untitled". Original watercolor (2012). A3 aprox. Sold to private collector.
Bibliografía (Bibliography):
Borges, J.L. (1975). El libro de arena. Buenos Aires/Madrid: Ultramar-Emecé.
Deleuze, G. (2008). Pintura. El concepto de diagrama. Buenos Aires: Cactus.
Evans, R. (2005). Traducciones.Valencia: Pre-Textos.
