antony clarkson
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The Athole House Studio
Self-Isolation Artist Residency
30th March 2020 - 7th November 2021

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Over my career I have taken part in many artist residencies in various parts of the world; I have even organised and run a residency program myself. 2020 has brought new challenges to us all, I however intend to treat these challenges as opportunities. With this in mind today, the first day of my self-isolation having arrived back from my studio in the Untied States last night, I I launch my new blog which will become an integral part of this website as I redesign is over the coming weeks.

Artist Residencies give artists the space and perhaps more importantly the time to make new work; I intend to treat my time in self-isolation in the same way that I would if I were on an artist residency in another studio in another part of the world. Athole House Studio maybe one of my home studios but for me it is a work space, and lets face it, we all now have the time.

THE SELF-ISOLATION RESIDENCY 2nd MARCH 2021: DAY 338

3/2/2021

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New work in progress. Working title: "A Playful Thing."
Oil paint on plywood block, 150 x 150 mm

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19, 20, 21: Finding a reason to paint, in search of the sublime. 2nd March 2021.
Part 39: 'Interpretation, abstraction, illusion.
An Unsettling Appeal: Insearch of the Sublime.

Does the progression and evolution of the geometrical form of the image have a relationship between the contained quantities, volumes and proximities represented and to their rapport to the observer? This is essentially the question which I am pursuing during these notes.

If one considers the basic form of the portrait, leaving the extended context aside for the moment, a portrait usually contains one subject, the sitter, observed in a relatively close-up context. A still-life is usually a collection of subjects or objects which are, on the whole, observed in a slightly expanded field of view and therefore necessitating that they be placed slightly deeper within the pictorial plane. Based on this progression what does this infer to paradigm that we know as the landscape? Well I would maintain that the same progressive notion applies and that although a landscape might traditionally be considered to be one subject, the narrative nature of the landscape is usually constructed of my objects, that although many of them may be considered to be part of the extended context, they do however work in an accord to form the story of the general subject. Of course, via a style of conglomeration, one which is vital to the formation of the landscape subject; it means that the component parts of the vision are once again, through necessity, viewed at a greater distance than we experience with the structure of the still-life.

To be continued...
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  • CODEX
    • plane >
      • Apophenia: An Uncanny Presence.
      • Control(s)
      • Personal Topographies
      • The Self-Isolation Residency
      • Americana
      • Mauve Skies
      • Scotland
      • Selected Drawing & Paintings,
      • The Teaching Years
      • Spatial Paintings 2006-2008
      • Paintings 2006
    • mass >
      • The Blind Men and the Elephant.
      • Spatial Conceptions 2014 - 2022
      • Painted Objects
      • Autograph
      • The Newtonian Nightmare
    • volume >
      • Enso nest
      • Someone else's storey
      • Shower, The Process Residency 2013,
      • Concrete Haiku
      • Atypical
      • The Murder of Crows.
      • Composition in White (Painting), The Breathe Residency:
      • Composition in White (Sculpture), The Breathe Residency:
      • Floorplan
      • Paper Scissors Rock
      • Pilgrimage
      • The Fifth Column
      • Tension
      • Arch
    • blogs >
      • The Self-Isolation Residency: Blog 2020-2021
      • Apophenia: An Uncanny Presence. 2022
    • artist statement
    • cv & education
    • contact