28 Critical Reflections: random 1 t0 7

The image in a mirror is not a sign for it and cannot be used in order to lie (if not by producing a false object to be reflected, but in this case what stands for the supposed object is the false body, not its reflection).[3]

The gallery is a lovely bright space, all white-painted wood and high ceilings, with a few stunning pieces, but the garden's the real show-stopper here. It's quite small, but full of amazing and very varied sculptures, placed far enough apart that you can enjoy each one individually, but close enough together that you can get really interesting perspectives of three or four at once.[8]

There is an inside and an outside to every form. When they are in special accord, as for instance a nut in its shell or a child in the womb, or in the structure of shells or crystals, or when one senses the architecture of bones in the human figure, then I am most drawn to the effect of light. Every shadow cast by the sun from an ever-varying angle reveals the harmony of the inside to outside.[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]

The image in a mirror is not a sign for it and cannot be used in order to lie (if not by producing a false object to be reflected, but in this case what stands for the supposed object is the false body, not its reflection).[3]

The inside of River Form is not reminiscent of something formed by the flow of water. There are angles and worked surfaces that suggest deliberate, mindful workings; there are circles [4]

Oh yes, there were birds, but not like the birds you see today. Big as eagles and coloured like kingfishers. They roosted on the ledges of the towers, and under the ramps. Long curving ribbon ramps, with... Obviously these were too heavy to fly, so they had to go on the roads. Very fast. Automated, of course.[2]

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