Being stranded out in the countryside and all the museums and galleries being shut this blog wiill be in abayance until such time as they re-open and I can go again. Strangely I have felt no urge at all to engage with the various digital offerings the galleries are all putting out. For me the seeing the thing in person is the thing and a reproduction rarely produces the same results.
I have also been without my usual art impliments and so, with the weather being quite good and there litteraly being nothing else to do I have had to improvise. So I hammered two pieces of balsa to a board, added in some nails and tied it to a step ladder with some wire, and there you are an easel. Fortunately Cass Art was able to deliver some essential supplies and then it was up and running. The above was my first painting, a sort of test piece if you will.
I am a very messy painter. I get paint all over myself, the surroundings, passing animals etc. Without access to a studio only really watercolour painting can be done indoors, as at least that is washable (although less washable than you might think). Therefore painting was relegated to outside. My usual practice is to identify a scene I like, photograph and sketch it on location (often only photograph it) and the paint from that photograph over a number of days or weeks in the comfort of the studio. However if you have to paint outside you should take advantage of it.
I have also signed up for Sky Landscape Artist of the Year, which I am hoping will still go ahead and so decided to get some practice in. I decided to pick as my subjects the trees in the garden but decided I would try rendering them in a slightly different way. I produced different coloured grounds and then painted the trees and other details on top (above). I think the result is rather good.
The other limiting factor is the presecence of my 2 year old niece, painting has to be carefully guarded as she thinks it is hilarious to push her hands into my paints and then cover everything with the resulting mess. You see her tiny head surverying the yellow and black painting.
With these two I went for a slightly different approach, I applied the coloured ground and then using a mixture of wiping back and either charcoal (above left) or natural chalk I found lying around (above right) produced the actual painting. Some of the more aggressive charcoal marks were applied of the owner of the tiny head you can see. They came out rather well. I am particularly pleased with the yellow and charcoal one.
At this point I ran out of canvas. There was of course a great deal of carboard packaging lying around so I covered it in three layers of Gesso and used this as a painting surface. The folding creases in the cardboard naturally suggested some kind of triptych. I settled on a still life, collected some stones and a stick from the countryside and supplemented them with househould objects.
The approach as you can see is the whole picture in the centre and the two of the objects larger on the flanks. The first painting (above left) is just on the Gesso as a surface whereas the second (above right) I applied paint as a background. The first is more successful I think. Cardboard is a tricky surface to paint on though and fine detail was difficult. Incidentally the plants are bluebells (above left) and Alliums (above right).
My current project is a landscape triptych. Fortunately DIY shops were open so I was able to procure some Plywood boards (3mm instead of my preferred 5mm so they are a bit floppy but you use what you can), applied 6 layers of Gessp and set off. This is at the very early stages and progress is hampered by the appearance of occasionally tiny handprints, on the paintings, from my tiny studio assistant. They will hopefully be finished soon.
We are planning, in my village, an exhibition once rules allow. It will be showing what people have been doing during the lockdown. All proceeds will go to the local church. More details soon.
The main thing I blog about and one the focus of my interests is museums exhibitions and reviewing the same. This tedious virus caused isolation means that is no longer possible. I find, along with many people that this absence of stimulation causes me to be less productive and creative not more. Time weighs heavily on me and motivation is difficult to summon, especially as my usual studio space is currently miles away and forbidden to me.
So instead I have been experimenting with pen and watercolour. Making abstract shapes, or geometric patterns and experimenting with combinations of colours.
My traditional stance is to use a variety of colours, often not having the same colour next to itself (such as in the above left).
I soon tired of this though and branched out into using colours of the same base or a similar hue, green in the above left, brown (strictly speaking madder) in the above right.
I have been posting these up, every day, on my instagram page. I intend to continue doing so until the lockdown ends. I am not sure what will happen then. Maybe I will try exhibiting them (or the best of them). In the meantime I hope you enjoy them.
Gauguin's work was, until just 26th January 2020, on display at National Gallery. Gauguin fits pleasingly into many of our cliches of an artist, particularly of the 19th Century. He was not appreciated in his time, selling very little work. He died in poverty (in his 50's) and was achingly misogynist, leaving his family to exploit young girls in Tahiti. He's paintings are pretty good though. I don't intend to talk about him so much but instead about the exhibition. Being impressionist it is of course super colourful as can be seen by the picture of Jesus in the Garden in Olives (above). In a breath-taking act of narcissism the Jesus bears more than a passing resemblance to the man himself. I really like the thin stripes of colour all pointing in the same direction.
The show starts with self-portraits and then moves in chronological fashion through Gauguin's life, starting in Paris and then Brittany, Tahiti, back to Paris and finally Tahiti. The painting above incidentally is from the early Paris era. I don't intend to talk about the show in such a fashion. I have just picked out a few of my favourite pieces.
Let us return to the beginning, with this picture of two people meeting at a gate (above right). I believe the male figure is the artist himself. The skeletal trees and the white face of the figures gives a menacing feel to the painting which sets off the purple strewn ground around it.
There are in addition a number of portraits. They range in subjects but there are the usual obligatory portraits of middle aged men in black, as in the above left. I do like his swirly moustache which stands out nicely against that opalescent green background. In addition to Van Gogh, Gauguin was a friend of another artist called Merjer de Haan. There were a number of portraits and pictures of de Haan in room, and I particularly liked one done quite simply in pencil. Gauguin also does a fine line in wood sculpture. An example is the above right sculpture of de Haan. It is like some grumpy spirit or angry tree god.
Guaguin then left to Tahiti, where in addition to sleeping with a number of disturbingly young people. He married one of them and painted her (above left). it is a striking picture. That glowing yellow contrasts superbly with the flowing purple and purple backdrop. The way he captures her pose, with a sense of movement. It is the kind of painting you can gaze at for hours.
He produced a number of paintings in this period, playing with marrying Tahitian tradition and western art. Of course he produced some classical works such as this self portrait (above right). This gallery included more wooden sculptures, figures flowing out of the wood. Plenty more yellow.
I have shown two of them. They were amongst my favourite in the show and I spent most of my time in the show looking at them. The one above was probably my favourite piece on display. The flowers are beautifully rendered and the colour scheme is excellent.
So despite his obnoxious personality, his stuff is worth seeing, so go and see it.
Dora Maar, a name I only heard last year, but it turns out a face I have seen in a number of different forms, has a show of her work at the Tate Modern. She was annoyingly talented both as a photographer (for which she is arguably more famous) and as an artist. In addition to this you will have seen her head mangled in various ways, countless times as she was a repeated muse (and lover) of Picasso. Several of those paintings are in the show, as are her paintings of him.
She did both fashion, portrait and art photography. The last of these was the most engaging and she produced a number of striking images, like for example the hand reaching out of the shell (above left) with that two tone ominous sky. There our some others that really appealed to me, a knight on a chessboard with an equestrian statue in the background. and one of her face double reflected as though viewed through broken glass. She photographed herself a number of times and there was a fine wall showing these in various different sizes. She has a strong face.
The photographs are good, and if you are a fan of photography then I highly recommend them. For me however of much more interest are her drawings and paintings. She turned the table on her erstwhile paramore rendering him in much the way he rendered her, dissected and disjointed (above left). He looks like a camp clown. I like the box on the left cheek like some invading coffee cup.
One painting that really struck me (above right). It is, I assume a portrait of a woman. I like the straight lines of alternating blue and gold, that descend into the shadow, of the strange face/platform. I also like the way the cone contrasts with the wavy hair. I found this fairly captivating and spent some time in front of it.
The exhibition then shows Maar's journey from the cubist and abstract (above right) to a more realist and social observing style (above left) and shown excellently by this striking double portrait of two woman. I like the two tone red. It can be very effective having an almost constant backdrop colour, Of course it is in fact not all one colour. The red bisects along the middle changing tones from dark to light. It is a scheme I have seen a number of people deploy and I may give it a try. This painting is also deceptively simple but it is a piece of gentle contrasts.
There are a number of paintings like this, some more figurative, some more abstract. Some of them work very well, some of them are not very interesting, but some of them have a very dynamic quality that makes them interesting.
In the final room there was a large rectangular screen on which was projected, changing every few seconds, large mainly monochromatic abstract pieces. They are quite effective displayed in this way but facing them was this display above. It is a combination of again simple seeming ink paintings and very yonic photographs. Messages hidden withing the blurs. I have been wittering pretentiously haven't I, but this particular display very much appealed to me. I have always been drawn to Korean/Japanese and Chinese ink paintings and some these had that same aesthetic. It was also a very good move mounting them on a black wall.
This post has probably obscured more than it has revealed but Maar's body of work is a very interesting one, and one worth seeing.
Olafur Eliasson has a very unmemorable name, but even if you don't recognise the name you probably know the guy. Remember when there was a large sun peering through mist in the turbine hall at the Tate Modern? That was him.
Anyway he is back at the Tate Modern until 5th January 2020. I have been twice. The first time I went it was a Sunday near the start of the exhibition and it was incredibly crowded. I've never seen an art show so busy. Many of the visitors were families. I got half way round then retreated. I returned recently on a cold Tuesday. It was substantially calmer. The first room is a large selection of his concept models. It is always interesting to see somebody's working and on a smaller scale of the work you then experience. Sadly the exhibition has now finished so you will have to take my word for it.
It took me a while to figure out what the show was. It's a fair ground ride. A high spec, colourful interesting almost spiritual fair ground ride, complete with misty tunnel, hall of mirrors, dark room and light effects, such as the one above where you are back lit and your shadow displayed in a number of different colours. But we are leaping ahead.
It is worth while having a careful look around. The first room contains a very impressive tactile wall of moss like substance covering all of one wall. On the floor are 4 different sized, both in length and width, tanks full of water with wave machines. They generate waves of different frequency and it is fun watching them join and destroy each other. These easily distract you and it is easy to miss for example the rain machine dripping onto one of the windows.
Into the next room you see a convex mirror displaying an upside down distorted view of the room you have just left. And this is what I mean about it being a high spec fairground. You then have to queue to go down an long misty tunnel. You can barely see more than about and arms length in front of you and different coloured lights means the mist changes from orange to white and yellow as you gently parade down it. I understand that you are legally allowed to murder anyone who has stopped to take a selfie while in the tunnel (there were lots, there are less now). You emerge slightly baffled to find a large sci-fi esc cylinder, which you can walk down inside of. It is bedecked with mirrors with reflect and distort you.
The next room has a series of light displays and then also the light effect you can see at the top of your blog which splits your shadow into a number of different colours.
My favourite thing in the whole show though was in a very dark room. Sudden flashes of light reveal an every changing sculpture on top of a plinth. It shifts from looking like a pac-man ghost, to a flattened kraken and other weird shapes. It is in fact the thing pictured above. It is a fountain. And the flashes of light catch it in different shapes and imprint it onto your brain. I thought this was excellent and stayed there for quite a while enjoying it all.
The final room contained a very pretentious and wordy wall taking the alphabet and exploring environmental themes. A large round table contains a construction set, hundreds and hundreds of different pieces that you can assemble and possibly if you were minded create the shape like the above. That was great fun. The exhibition continues outside where the ball like device is. There was a display I have seen before where this yellow polarising light, here set up in a hall way and in the lifts that makes everything appear black and white.
It was a great show. I enjoyed it.
There is a show at the British Museum right now called Inspired by the East, the Influence of Islamic Art. It is the kind of show that British Museum does really well, an overview of something from history, or art, and giving you the context of how it was produced and what effect it has. You get the obvious direct influences, high Victorian western images of the Arabic world like the above, but also other inspired pieces such as the tiles of one of my favourite artists William De Morgan.
One example I really did like was this water colour of a woman in veil and head-dress (above right). It is very striking composition, with that pyramid of red. I like her pose as well and the general composition reminds me a sci-fi, post-apocalyptic character. I really like when you find in historic art, images that feel very contemporary. I find myself wondering about the person depicted.
Got to have Islamic militaria. You get two helmets and a sword. I really like the helmets, both of them inscribed with intricate patters on them. The shapes of the helmets really appeal to me but what grabbed my attention but was frustratingly unexplained was the little chimney shape on the above left helmet. What the hell is that for? Presumably for holding some kind of plume. In addition very interesting to see something different. That hanging decorative item is in fact a begging bowl. It is made of Coco -da -mer , a kind of nut. Don't google it, there is a sex shop of the same name. Again the wonderful islamic writing and designs inscribed around the outside. I always like seeing things like this. To counterpoint this, in a display just near it were Western and modern pottery and table ware that uses these designs and element. The glassware was particularly attractive.
The Al-Hambra has long been on my list of places to visit and this re-kindled my desire. I want to wander through those tiled halls. It directly inspired Lord Leighton who had part of his house built to reflect its grandeur. You can see it, its call Leighton House, in Kensington High Street and is well worth a visit. So underneath its inspiration are designs for the room and the detail you can see in said room.
There was one actual carpet (above) and it is beautiful. A rich red with intricate detail of people, bopping around in various ways. It is difficult to imagine this being walked on, or even on the floor so it maybe that it was hung on a wall. I spent some time peering through its finely wrought details.
One of the thing that occurred to me while wandering round this show is there were lots of depictions of men prayer or otherwise engaging in acts of faith, but I never seen one of an Islamic woman, then I rounded the corner and saw that someone else had realised this, over 150 years ago.
Above left is the painting in question. The artist in question is called Osman Hamdi Bay who was described as the most Parisian of Ottomans and the most Ottomans of Parisians. A strange accolade but there you go. The painting itself is superb. The colour contrast is excellent, the way the woman pops out of the background. Then the intricacy of the background, the lattice over the window, the turquoise of the tiles and the mother of pearl on the table. Its lovely and I think Bay is a new favourite of mine.
There are also some excellent modern takes on some of the classics. There is the woman above right which references a nude but instead she is covered in newspaper. Sadly I have failed to note either her name or the name of the painting but it is a very striking image and I liked it very much. Similarly there is a classic etching called the Harem of the Seigneur. The last exhibit in the show was a projected version of that picture with moving figures, castigating and criticising the original. It was done very well I though.
A show worth seeing and I really enjoyed it.
Lucian Freud's self-portraits are currently on display in the Sackler Wing at the Royal Academy. It is very interesting showing the growth of one Britain's most famous artists both physically and artistically. He starts out looking like James Acaster as actually quite a handsome young man. That steely look of self regard is something that never goes away though. I like the early work particularly. This flat style with often quite a surrealist feeling of placement is something that appeals to me.
As the man develops so does it work. It becomes thicker, darker, more brooding and intense. He very quickly developes this sort of grey/blue palette which stays until the end of his work, and reminds me of the interior of a 1970s Austin. There is something somehow very 70s about Freud. Other than the direct self portraits though, of which there are many. What is in many ways more interesting is his habit of putting himself into other paintings. He apparently left random mirror around his studio to catch different angles, and it is these accidental images I like. Probably my favourite piece in the whole show is this dark tatty picture of a dark tatty chair. The texture and detail on the leather and the ripped upholstery and then, to justify it being in the show, this mirror with a blurred image of the man himself.
looming self portrait, in this hideous gray suit. You can feel the colossal self regard emanating from this image. Freud is lesser know but for better as a botanical artist. There are knocking around a number of his plant paintings that took him years to do. There is this faded battered feeling to this dying plant which is of a piece of his slightly off kilter faded elegance thing. And then for reasons that are not obvious there is a naked bust of the man, peeking out from between the fronds. He appears in other paintings too. There is, disturbingly, a full length nude painting of his adult son, but with Freud himself appearing reflected in the window. Others have his feet, or shadow.
For me, there is much more interest in the more dynamic, narrative paintings. Although the subject matter seems very harsh I like the one of Freud and his then wife in a hotel room (above left). I like the narrative tension in the painting and the pensive look of horror on his wife's painting. While Freud is not my favourite painter, I find him often far to cold and distant, artistically and psychologically this is a fascinating show.
I had heard of Nam June Paik before. The Tate had exhibited a number of his joyful robot sculpture constructions over the years and I enjoyed them very much. I was therefore quite look forward to a full exhibition of his work, which is currently being shown at Tate Modern. Initially I was quite impressed. The first exhibit is the delightful jungle like affair (above). A darkened room, strewn with lush potted plants, and peaking out between them these televisions poking out from between the foliage. They show Paik characteristic, blurry indistinct colourful images.
Opposite that were some very simple but strangely captivating line drawings using the classic Korean ink painting. They are bold and inviting lines. I will get onto the other highlights but I found there was a lot of heavy quite tedious typed and written manifestos. Paik was at his peak at the age of the manifesto and there were an awful lot of them. I don't like being told what the art is. Unless your philosophy is interesting and well put I am simply not going to wade through pages of typeface. No doubt this does appeal to some and there were many earnest looking people who obviously got a lot out of it. For me though art has to have above all a visual impact.
And there is plenty of Paik's work that does. One of the strong things he does is constructing things out of electrical equipment. Anthorpomophising. Is that what is going on? Two excellent examples are above right where you have a pair of glasses and a bra, apparently. Anyway this 80s tech steam punk wearable tech thing really appeals to me.
In a darkened room at the end are banks of television screens arranged both landscape and portrait. They show both composite images and separate images which engulf you from the end of the room. Its quite an experience and depending on what is being shown can be either activating or calming. Its a nice idea done well.
My favourite room though was the Robot room. The robot's as I said before are the elements of Paik's work I find the most engaging, the most pleasing and the most joyful. There were three (above) showing a sort of evolution of the robot and the incorporating of the TV screens is a nice touch. I spent most of my time in this room marveling at the old tech. I would, ideally have liked to have seen many more of these.
This blog comes out on the last day of the Takis show. It is on at the Tate Modern until 27th October 2019. I had no idea who Takis was but I was at the Tate Modern for another reason today and I thought, why not and so in I popped. Lots of artists are known for just one thing. Takis is the magnet guy. Magnets feature very heavily in his sculptures. They give an extra dimension to his sculptures. If you look at the photo above at first glance it is a just a fairly pleasing assemblage of metal, but look again and you will see elements are suspended at the ends of wire. They are not touching anything. It is strong magnets that keeps them in place. Literal tension. Its a nice idea and i've not seen this done anywhere else.
Some of the pieces are kinetic, to varying degrees. When I first arrived the collection of magnets in the top left were just gently oscillating and then a security guard came in and set the large one swinging in a circle. It caused all the smaller ones to follow them round in a pleasing bobbing formation.
Some of his work though is not magnets, it is just small electrical component like structures. They are quite interesting to look at but I have to say they don't do much for me.
In a darkened grey coloured gallery are a number of light focused pieces, the darkened room of course emphasising the light as it appears. I like the switched based, almost steam punk feeling mechanism. Timing is often an element. So with the one above left the blue light stays on constantly but the white light flicks on and off at intervals. I particularly like the bulky blue bulbs with the red wires.
More robotic and somehow anthropomorphic is the construction above right. It has a nice mechanical menace to it, and again the light illuminates at intervals, and the little balls rotates.
The one though that provided me with the most joy was this control panel (above left) . With its switches, flashing lights, and alarmingly swirling dials it reminded me of old sci-fi sets. I was gripped with a strong desire to flip those switches and a regret that I never became a pilot or anything similar. It is a simple concept in a way. Presumably all he has done is jury rig a control panel so it mis-behaves but it was somehow beguiling.
At the end room (above right) there was a collection of tall thin sculptures on the end of metal poles. Again they had a strong mechanical or electrical component bent. I could not help comparing them unfavourably to Alexander Calder. I found them a little bit dull. Some of them had a nice scythe like quality that I enjoyed but otherwise I found them difficult to engage with. More intriguing were those three large spheres you can see at the end. The large brown one is in fact more of a shield shape, and has a oversized flatted screw hanging in front of it. The other two are actual spheres and were oscillating gently. Again as I watched a member of museum staff appear. He set the screw swinging so it banged into the shield. He set the metal sphere swinging. This caused it to twang a triplet of wire strings, connected to an amplifier which produces a noise much like when a child gets hold of a bass guitar. That was quite entertaining.
This is another theme, the production of discordant chaotic sounds. In an octagonal side room are hung about eight of these rectangular boards (see above left). On them are dangling blunted metal spikes, which intersect differently angled metal wires at different points. Every 5 minutes the magnets are activated which causes the metal spikes to jangle against the strings, producing a pleasing cacophony. After 5 minutes it stops again, at least so the signed informed me. I did not stay for the whole five minutes.
I will leave you with my favourite piece from the show,, three structures held in place by magnets against a white background (Above right). it is the 5 bar stave that particularly appeals to me here. Anyway, hope you found this interesting. Check our my paintings here
Tate Britain is showing an exhibition of William Blake at the moment. It includes portraits of Blake, by other people (although there may be self portraits there as well). He does not look like you think he does. I at least imagined a prophetic wizened bearded man as we see in so many of his paintings. Instead we have what looks like a chubby accountant. This pleased me because it is more or less how I look and one can console oneself that genius comes in unlikely packages. Most of us are unlikely packages.
Anyway, onto the art. There is as you might expect and would be disappointed if you didn't see, lots of religious depictions. It is a very packed show and there is much to see. I will only skim the surface to give you a taste. Blake does a lot of watercolours and they have always struck me as rather monochrome and insipid. In many ways as you can see from the above they are. However it is also clear I have been doing the man a diservice. What I hadn't realised is quite how much watercolour can fade. As the clever curators (who have done a marvelous job by the way) point out. In the top left picture do you see that line of blue in the bottom right hand corner? That is a part of the painting that is usually covered by the frame and has not been subject to fading. You can see how much more vivid and bright it is than the rest of the piece. This fired my imagination and I began to try and image what the paintings would have been like in their pomp.
The one above right for example with the man on the kneeling horse, I forget who he is and what he is doing. It is a striking and arresting image. Oddly modern, almost abstract in its depiction. Imagine how it would look with the blues, and yellows popping out. Would have been quite a sight.
You get much more of a sense what the watercolours would have been like with some of the oils. Like the one above left with Satan afflicting Job with boils (which reminds me of my favourite religious joke; Ahh yes, the book of Job. If it wasn't in the bible then you wouldn't believe it). Very vivid blue and I particularly like the sun boiling below the horizon with that thorn like crown of dark blue sky above it.
More meditative and looking slightly like he is perching on an underwater rock is a portrait of Newton (above right), although I suspect that Newton was never that buff or that naked in real life. Here is Newton risen to angelic of grecian form.
Scattered around the place are these beguiling dark paintings. They no doubt have faded, but I suspect that they were also painted this dark. Because I am foolish I have lost my notes of what some of these paintings are. No doubt if one is sufficiently religiously adept one can read them from the painting. The one above left has a haloed figure atop a dragon, St George possibly. The one above right is one of the most baffling pictures. It is small and very dark and difficult to see. It is called the Flea. Why? who knows, what was in the bowl, is he on stage? It is a painting that invites you to take your own journey, no doubt with many a visual clue for the cognoscenti.
Back into the light and the religious themes that dominate Blakes output. Many of the paintings are quite small, just above A4 size and where then rendered as prints. I find him less successful when he is dealing with the New Testament era stuff like the above left. In its stilled rendering it is very reminiscent of the Renaissance artists, who frankly do it better. Where Blake is best is when he is going full Old Testament bonko like in the above right. There is always more movement, like that flowing cloak, or flames, or possibly a cloak of flames. There is more drama and the visuals are more arresting. Fortunately there is no shortage of these. These after all are probably the images you think of, when you think of Blake.
There are some prints on display and one of the neatly contradicts what I was saying about Blake and bible era. The scene above left takes a new testament scene, the Crucifixion but presents it in a more ominous and looming light. We cannot actually see Christ, just the dark shadow of the cross obscuring the sun, and then these no doubt nefarious figures in the foreground who appear to be gamboling and it would seem are destined for the Bad Place. I particularly like the way their halberds echo the lines of the cross and the shadow crown in the back ground.
I also like this scratchy on velum like material depiction on the above right. It is almost like an instruction manual for how to ascend into paradise. The figures are nicely poised but there is glorious detail sitting in the background and it is easy to just blow right past it. This is what makes Blake (and indeed many artists great) is the attention to detail. Knowing when to have it and when not, when others might get it the wrong way round. Those trees at the bottom, not really needed for the subject but they almost literally ground the painting.
Above left we have what I think is one of my favourite pieces in the show. It is god judging Adam. Adam it would appear is not coming off well. But I love the composition. The background with the triangle of light and then blackness. The circle of flame and then the figure pointing which, it seems to me at any rate, is a Sistine Chapel ceiling reference. What I really like are the pair of insane looking horses and the hunched posture of the figures as though they have both been utterly defeated. God, presumably is disappointed.
Blake also produced illustrations for various pieces, including Dante's Inferno. There are a number of scenes from throughout the poem but by far my favourite is of Cerebus. Mashing up your Greek myth with your Christianity and you get what is to my mind, quite a cute looking three headed guardian of the underworld (above right). He looks as though he is relaxing in front of the fire.
Where Blake is at his most eye-catching though is where his work has this strong structural elements. Triangles he does best and so I will leave you with two excellent examples of this. The show is quite something, I would recommend you go and see it.
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