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

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Picture
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 4th MARCH 2021: DAY 340

3/4/2021

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New painting: "Uncertain Encounter".
Oil paint on canvas, 610 x 610 mm.

Picture
19, 20, 21: Finding a reason to paint, in search of the sublime. 4th March 2021.
Part 41: 'Interpretation, abstraction, illusion.
An Unsettling Appeal: Insearch of the Sublime.

If we as observers instinctively attain a close proximity to other individuals when we converse with them, the reverse is true when we engage with a landscape. This form of encounter is almost a polar opposite in terms of meetings, to begin with we are not experiencing the kind of intimate interaction with one sentient being as we are during our portrait encounter; now we are spreading out attention over a wide and on the whole unresponsive plane. We are, during these occasions, purely observers, we do not anticipate any two-way conversations as part of such engagements.

Although we do not generally have any input into our meetings with landscapes the possible sources of information on such occasions are so multitudinous that to fully appreciate the scale of the data, we must take both a figurative and literal step backwards in order to wholly absorb it. We begin by scanning all of the possibilities in order to identify individual characteristics and their role in the composition of the scheme. It is by this reading of a landscape that we begin to perceive how the component parts of it work in unison to form the narrative of a single subject. In a natural landscape this form of narrative may be very obscure and our senses will possibly not be attuned enough to appreciate it, however within the composed variety, represented via means of the pictorial plane, the idea of the extended context is likely to have once again been artificially exploited.

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