I’ve added a piece from my archive about Robert Wilson’s ‘Walking’ project, which I experienced at the 2012 Norfolk and Norwich Festival. It is in the ‘Writing’ section of the site. Click here to read it.
I’m in the process of adding pieces of writing from my archive to this site and have added the following in the past few days. More to follow in due course:
i) ‘How to Keep a Villa in Arcadia‘ – on the Venice Biennale in relation to Virgil’s Eclogues.
ii) Two items of programme notes:
– Notes on the Andriessen/Greenaway opera, ROSA written for Lincoln Center, New York in 2004
– ‘By the Magician’s Hand’ – notes on Stravsinky’s Petrushka written for Trinity College of Music, London in 2008
iii) My 2006 article for Contemporary Music Review, ‘The Flux Between Sounding and Sound: Towards a Relational Understanding of Music as Embodied Action’
The planes of Henry Moore’s sculptures convey a plasmic organicism. They seem to curve around you as you approach and to spin like a barrel on an axle as you move away. The skill in controlling our impression of these planes is the sculptor’s manoeuvre. It distinguishes itself from the two-dimensional mark-making of the draughtsman as it takes place within the real world of things.
I admire Moore’s drawings: the wire-wool sheep and war-weary sleepers on the London Underground. But until I visited his estate at Perry Green last week I hadn’t thought about a connection between the textures he inscribed on his sculptures with cheese-grater-like implements and his significant use of another two-dimensional art: photography. [click here to continue reading]