28 Critical Reflections: random 1 t0 7

Terrific contrast between the strong, tactile sculptures and the exuberance of the foliage and flowers. Apart from one or two pieces marked Do not Touch, you can touch and stroke the sculptures in the garden: take advantage, it's quite an experience.[8]

In between the towers and under the ramps you could see what looked like parks, or gardens, but some of them had wilderness areas, and there were tigers. At least they looked like tigers, but maybe that was...[2]

And I know this sounds odd, but most of the flying people were carrying briefcases. Maybe it was their lunch, or maybe... I don't know, it could have been they needed paper, for some purpose I didn't understand.[2]

My left hand is my thinking hand. The right is only a motor hand. This holds the hammer. The left hand, the thinking hand, must be relaxed, sensitive. The rhythms of thought pass through the fingers and grip of this hand into the stone.[7]

There is an immediate transference of sensation, a response within to the rhythm of weight, balance and tension of the large and small form making an interior organic whole. The transmutation of experience is, therefore, organically controlled and contains new emphasis of forms.[7]

I like the contrast of foreground horizontal form with background vertical one, also between them the rhododendrons and lake with reflections.[5]

The specular highlight often reflects the color of the light source, not the color of the reflecting object. This is because many materials have a thin layer of clear material above the surface of the pigmented material. For example plastic is made up of tiny beads of color suspended in a clear polymer and human skin often has a thin layer of oil or sweat above the pigmented cells. Such materials will show specular highlights in which all parts of the color spectrum are reflected equally. On metallic materials such as gold the color of the specular highlight will reflect the color of the material.[6]

28 Critical Reflections random 8 to 14
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Sources

[1] http://www.neworleanspast.com/art/id62.html

[2] Ken MacLeod, Reflective Surfaces, New Scientist, 2009.

[3] Umberto Eco, A Theory of Semiotics, Indiana University Press, 1979.

[4] Clive Fencott, Reflections on seeing River Form in Barbra Hepworth's garden in St. Ives.

[5] http://www.flickr.com/photos/nigelhomer/316548379/

[6] http://en.wikipedia.org/wiki/Specular_highlight

[7] http://www.barbarahepworth.org.uk/texts/

[8] tripadvisor.co.uk