Rysunek zatytułowany „Assemblage” autorstwa David Boyd, Oryginalna praca, Ołówek

Assemblage (2020) Rysunek autorstwa David Boyd

Nie na sprzedaż

Sprzedane przez David Boyd

Kup wydruk

Ten wydruk jest dostępny w kilku rozmiarach.

Reprodukcje

29,86 USD

Wydruki na płótnie

49,13 USD

Drukowanie na metalu

102,64 USD

Jakość muzeum

Opinie klientów Doskonały

Artyści otrzymują wynagrodzenie za każdą sprzedaż

Sprzedane przez David Boyd

Oryginalna praca (One Of A Kind) Rysunek, Ołówek / Atrament

Klasyfikacja dzieł

Pojedyncza praca (OOAK / Oryginalna praca)

Jedyne w swoim rodzaju dzieła sztuki znane są również jako dzieła sztuki „OOAK”. Oznacza to, że każde dzieło sztuki jest niepowtarzalne i nigdy nie będzie drugiego identycznego.
Wymiary Wysokość 16,5in, Szerokość 23,5in
Stan grafiki Grafika jest w idealnym stanie!
Oprawianie w ramy Ta grafika nie jest oprawiona
Kategorie Geometryczny Architektura

This drawing, titled “Assemblage”, is part of a series of drawings called, ‘A Tectonic’. It is a study into the spatial compositions of separate architectural elements that are yet to connect, frozen in a state of flux between manifestation and active construction. This state of flux is a place in which possible spaces are suggested, but not yet fully defined, leaving personal interpretation to find possible spatial configurations.

The piece was drawn in ink and graphite using a traditional architectural drawing board, employing an experimental approach that is inspired the conceptual philosophies of Dadaism, Constructivism, and Pataphysics. Within this approach, each drawing is a result of an unplanned process of drawing, with no preconceived end point in mind. In doing so, the work navigates itself into a position of resistance against the contemporary, digitally quantifiable modes of production that are found within the current architectural profession. The internal logics and rationales that lie within each drawing develop and establish themselves while the drawing is being constructed, through a slow process of spatial, formal, and compositional negotiation. It is produced with a desire to create projections that question the notion of interpretation and readability in architectural drawing. It establishes an ocular field within which it requires the viewer to, firstly, orientate themselves within the composition, and, secondly, to spatially explore the series of vectors establishing and constructing an architectural imaginary from one’s own interpretative sub-conscious.

The end point may result in an abstract visual archive of architectural thinking, whilst others may manifest into far more literal projections of a possible architecture. There is always an instinctive catalyst for a drawing, but never an aim.

Thanks for reading. If you have any questions about the work, please don not hesitate to get contact me.

All the best,
David

O tej pracy: Klasyfikacja, Techniki & Style

Atrament

Silnie zabarwiona ciecz lub pasta używana do znakowania papieru lub innych materiałów do drukowania. Projektowanie odbywa się ręcznie za pomocą płyty, pióra, pędzla lub prostownicy.

Technik Rysunek

Rysunek to technika wizualnej reprezentacji na płaskim podłożu. Termin „rysunek” oznacza zarówno czynność rysowania, wynikową pracę graficzną, jak i kształt dowolnego obiektu. Jest to również przedstawienie na powierzchni kształtu (i ewentualnie wartości światła i cienia) obiektu lub figury, a nie ich koloru. Istnieje wiele technik rysowania: „Rysowanie liniowe” przedstawia obiekty za pomocą ich konturów, krawędzi i niektórych charakterystycznych linii; po przekroczeniu tej granicy rysunek rozwija się odwzorowując objętość cieniami, często za pomocą kreskowania, włącza kolory i łączy bez wyraźnego przejścia z obrazem.

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David Boyd

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Hi, I'm David Boyd and I’m an artist, teacher, and trained architect based in Newcastle Upon Tyne, UK. My work explores the relationships and tensions that lie between architectural drawing and fine art[...]

All of my drawings are hand drawn using a traditional A1 architectural drawing board, using pen, pencil, and adjustable set square. They are produced employing an approach inspired by the philosophical notions of Dadaism, Constructivism, and Pataphysics. With this approach, each drawing is a result of an unplanned process, with no preconceived end point in mind. The logic and rationale for each drawing is developed and established while the drawing is being constructed, through a slow process of spatial, formal, and compositional negotiation. The end point may result in an abstract visual archive of architectural thinking, whilst others may manifest into far more literal projections of a possible architecture. There is always a reason for a drawing, but never an aim.
The passion that drives my work is the desire to explore and create projections which question the notion of interpretation and readability in architectural drawing. I aim to create work which requires the viewer to, firstly, orientate themselves within the composition, and, secondly, to spatially explore the series of vectors and forms. The drawings are an offering to the viewer for them to inhabit and contextualise for themselves, constructing an architectural imaginary from one’s own interpretative sub-conscious

MY TRAINING

During the time I was studying for my fine art degree, from which I graduated in 2006, I developed a passion for Constructivist art, with a particular interest in Kazimir Malevich and his Suprematist / Architekton studies. My interest in such work inspired me to then pursue architecture, and, in 2010, I began the long process of studying to become an architect, graduating in 2018.
I have previously practised architecture in Bristol, UK, and, currently, teach as an architectural design tutor on the Masters in Architecture programme at Newcastle University. Alongside this, I am also studying for a PhD, which scrutinises the philosophical roles and mechanisms of architectural representation within the context of the ocular methods of hand drawn parallel projection.