Disegno intitolato "Landscape" da David Boyd, Opera d'arte originale, Grafite

Landscape (2019) Disegno da David Boyd

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Venduto da David Boyd

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Stampe d'arte

29,97 USD

Stampe su tela

49,36 USD

Stampa su metallo

103,24 USD

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Venduto da David Boyd

Opera d'arte originale (One Of A Kind) Disegno, Grafite su Carta

Classificazione delle opere

Lavoro singolo (OOAK / Opera d'arte originale)

Le opere d'arte uniche sono anche conosciute come arte "OOAK". Ciò significa che ogni opera d'arte è unica e che non ce ne sarà mai un'altra identica.
Dimensioni Altezza 16,5in, Larghezza 23,5in
Condizioni dell'opera d'arte L'opera d'arte è in perfette condizioni
Incorniciatura Questa opera d'arte non è incorniciata
Categorie Geometrico Architettura

This drawing, titled “Landscape”, is part of a series of drawings called, ‘The Autonomous’. It is a study into the philosophical processes inherent in the illogical and Pataphysical imagining of architectural fragments that sit within tightly constrained, enclosed ocular conditions. In doing so the work places moments of architectural imaginaries within a place of conceptual and visual autonomy.

The piece was drawn in pencil on 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

A proposito di quest'opera: Classificazione, tecniche & Stili

Grafite

Disegno in bianco e nero realizzato con una matita, uno strumento costituito da un bastoncino di legno utilizzato come guaina per una miniera di grafite della stessa lunghezza.

Tecnico Disegno

Il disegno è una tecnica di rappresentazione visiva su un supporto piano. Il termine "disegno" designa sia l'azione del disegno, il lavoro grafico risultante, sia la forma di qualsiasi oggetto. È anche una rappresentazione su una superficie della forma (e possibilmente dei valori di luce e ombra) di un oggetto o di una figura, piuttosto che del loro colore. Esistono un gran numero di tecniche di disegno: il "disegno lineare" rappresenta gli oggetti dai loro contorni, bordi e alcune linee caratteristiche; oltre questo limite il disegno si sviluppa rappresentando il volume per ombre, spesso per mezzo di tratteggi, ingloba i colori, e si unisce, senza un netto passaggio, al dipinto.

Temi correlati

Architectural Drawing Axonometric Hand Drawing Minimalist Geometric

David Boyd

Regno Unito

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.