10. Dec, 2020

judith cisneros_australia crx2020_video stills_ constructive reductive_copyright 2020

Artist Researcher

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Copyright Judith Duquemin 2020.

Intellectual property by the artist, or the artist/curator/writer respectively is copyrighted. The use of any image or written material from this site is prohibited unless prior written permission from the artist or artist/curator/writer is obtained.

Citation 1. eg. Judith Duquemin, Forming, Exhibition Essay, Constructive Reductive Virtual Exhibition. Artist Researcher @ http//:www.judithduquemin.com 2020 (Artist Researcher weblink optional)

Citation 2. eg. (The artist). Image/Text (section/heading). Constructive Reductive Virtual Exhibition. Artist Researcher @ http//:www.judithduquemin.com 2020 (Artist Researcher web-link/optional)

16. Oct, 2020

Constructive Reductive
Curated by: Dr Judith Duquemin
POP Gallery, Queensland College of Art. Griffith University. Australia
381 Brunswick St. Fortitude Valley, Brisbane 4006
Dates: 24/08/20 – 07/09/20
Dr Judith Duquemin is an Australian visual artist, curator, essayist.
Artists: Joseph Buis (FR), Judith Cisneros (AR), Elizabeth Day (AU), Judith Duquemin (AU), Liz Helman (UK), Gosia Koscielak (PL/US), Roland Emile Kuit & Karin Schomaker (NL), Aaron Perkins (AU), Charley Peters UK), T. Michael Stephens (US), Jon B. Thogmartin (US)

Constructive Reductive is a multi-disciplinary exhibition of contemporary, constructive art by twelve international artists whose practices include: immersive light installation; virtual reality/eco-sculpture; projective relief; painting and narratology; structural/spatial/geometric/code-defined painting; luminal, kinetic construction/photo sets; immersive drone-based sound-scape; digital drawing; sonic science, audio art and sound plastics.
The exhibition is supported by the essay titled: 'Forming'.

DISCLAIMER -a curated exhibition in a pandemic
'Constructive Reductive' the exhibition was a miracle in the making. It was developed prior to and during lock down in Australia as a result of the 2020 Covid 19 pandemic. Planning was subject to much change due to the sudden impact of the virus on local, national and international relations. Email communication along with a stretched international post across six countries complete with mandatory quarantine and a compromised delivery system enabled the exhibition to proceed. Because Australia was less affected by Covid 19, Griffith University maintained their support for existing proposals scheduled for the wider community. The exhibition deserves further recognition in an art museum (with external funding that can provide audio visual, surround sound installation, virtual reality and laser light installation in addition to the inclusion of 2D & 3D works). The exhibition which was staged in the city of Brisbane (AU) was partially funded by the curator, the artists and Griffith University.
Constructive Reductive. Exhibition Concept Copyright 2019 Judith Duquemin
Email: Dr Judith Duquemin. judith@judithduquemin.com

16. Oct, 2020

Prof. Judith Cisneros
Jon B. Thogmartin
Joseph Buis
Liz Helman
Dr Elizabeth Day
Roland Emile Kuit & Karin Schomaker
Gosia Koscielak
T. Michael Stephens
Dr Charley Peters
Dr Judith Duquemin
Aaron Perkins

All images/copyright the artist as listed final page

Screenshot Sites_20201115_133308. Copyright 2020 Roland E. Kuit & Karin Schomaker. http://rolandkuit.com/Calendar.html

Links/Artists - time-based mediaRoland Emile Kuit & Karin Schomaker (NL) Sites  



Judith Cisneros (AR) Obra de Luz Light Artwork


Liz Helman (UK) Lithium City



Gosia Koscielak (PL/US) Virtual Unism



Video/Sound/Digital Compositions/all copyright the artist

Works Slide Show # 1 by Joseph Buis (FR), Roland E. Kuit & Karin Schomaker (NL), Judith Cisneros (AR), Gosia Koscielak (PL), Jon B. Thogmartin (US). All images copyright the artist.

gosia koscielak_virtual unism 3_virtual reality_installation view_constructive reductive_2020

gosia koscielak_virtual unism 3_section#1_virtual reality_constructive reductive_copyright 2020

Judith Cisneros

judith cisneros_australia crx2020_immersive light installation_video_copyright 2020

elizabeth day_(ir)regularities #1_constructive reductive_copyright 2020

Works Slide Show # 2 - Installation View #1. Works by Judith Duquemin (AU), Charley Peters (UK), Jon Brees Thogmartin (US), T. Michael Stephens (US), Jon B. Thogmartin (US). All images copyright the artist.

Constructive Reductive

Judith Duquemin

Charley Peters

Jon B. Thogmartin

T. Michael Stephens

joseph buis_yellow 1_red 2_blue 3_constructive reductive_2020

Works Slide Show #3. Liz Helman (UK), T. Michael Stephens (US), Aaron Perkins (AU), Charley Peters (UK), Karin Schomaker & Roland E. Kuit (NL). All images copyright the artist.

Liz Helman

Joseph Buis

Aaron Perkins

Charley Peters

Roland Kuit & Karin Schomaker

Joseph Buis

joseph buis_site specific work in progress_constructive reductive_copyright 2020

judith duquemin_new work in lock down_ acrylic on canvas_9 x 15 in_section multiple_copyright 2020

POP Gallery (Griffith University)_Festival House_Fortitude Valley_Brisbane (AU). Photo Judith Duquemin

Works Slide Show # 4 (installation view) & 5 (sections) by T. Michael Stephens (US), Liz Day (AU), Judith Cisneros (AR), Aaron Perkins (AU)


Constructive Reductive

Jon B. Thogmartin

Judith Duquemin

Roland E. Kuit & Karin Schomaker

Elizabeth Day

T. Michael Stephens

Elizabeth Day

Judith Cisneros

Aaron Perkins

T. Michael Stephens

  • Judith Duquemin

    Judith Duquemin is an Australian mid-career structural, systematic painter who creates multi-dimensional form from geometric code. Education. PhD. Univ. of Sydney. BVA (Hons. 1995) and MVA (Research 2000). Grants/Awards. 1995 Australia Council New Work Grant, 2001 Australian Postgraduate Award, 2005 Moya Dyring Studio AGNSW, Cité Internationale des Arts. 2004 Winner - Fauvette Loureiro Memorial Travelling Artist Schlp., Univ. of Sydney. 2019 Assoc. Member Art Research Center, Kansas, USA. For her PhD Judith argued within a Philosophy of Action that volition is an action of Painting. Commissions. 2016 "Thirty-Six", large-scale digital facade graphic, University of New South Wales. Commissioned by: UNSW School/Psychology. Recent solo exhibitions. 2019. Judith Duquemin -Thought Form. Grey St Gallery, Griffith Univ., Brisbane (AU). 2019. Judith Duquemin - Geometry and Place. Bundaberg Regional Art Gallery, (AU). 2014 Trigonometry: Red03 Gallery, Barcelona (ES). 2011 Offspring. ParisCONCRET, Paris (FR). 2009 Judith Duquemin Sydney Design Week 09. H&D Contemp. Art Space, Sydney (AU). 2007 Sugar Cane Blonde: Univ. of Newcastle (AU). 2007 Judith Duquemin: New Work. SCA Galleries, Univ. of Sydney, (AU). 2006 Factory 49, Sydney (AU). 2006 Integity. Harrison Galleries, Sydney (AU). 2005 Bleu sur Bleu. Cité Internationale des Arts, Paris. Group exhibitions. 2020 Covimetry. Galeria BWA Ostrowiec, Swietokryzyski. PL.Curated by Mark Starel. 2021 Re: Construction. Jan Kochanowski Univ., Instit. of Fine Arts, Kielce, PL. Curated by T. Michael Stephens. 2018 The Momentum. Angus Hughes Gallery. London (UK).
    2017 International Concrete, Marcela Jardon Art Gallery. Barcelona, (ES). 2017 New Modern, Saturation Point, London, UK. 2017 Mining Pyrite, Newington Armory Gallery, Sydney Olympic Park Authority. Sydney, (AU). 2017 orthogonal16, nonsofia, Sofia & Varna (BG). 2015 Clear Sight. Saturation Point at Sluice Art Fair, London (UK).
    2015 From Centre. Slate Projects & Saturation Point, London, (UK). www.judithduquemin.com

  • Jon B. Thogmartin

    Jon B. Thogmartin is an American architect and artist, Kansas City, Missouri. School - K-12 Kansas City, Missouri. Bachelor of Architecture, Kansas State University. 1960-1963. 1963-1965, Architect In Training - Shaughnessy, Bower & Grimaldi Architects - Kivett & Myers Architects, Planners, & Engineers Licensed Architect - 1968 Missouri - 1975 Iowa - 1976 Texas - 1977 California National Council of Architectural Registration Boards (NCARB 1968) Architectural Office - 1970 -1975, Collaborative: Phase One Plus - with Richard Sneary, & Ken Wilson. Partnership ELM modular housing system. (Environmental Living Modules) Published Architectural Record 1972 Dewild, Grant & Rickert Architects & Engineers - Sioux City, Iowa - 1975-1977. Assistant Department Head -Architecture Division Primarily Housing. Co-founder of Art Research Center/A.R.C. 1964-66. Exhibitions with ARC across the country in late 60's Group Show - Anonima NYC, NY 1968 Group Exhibition & Conference - New Tendency 4 - Zagreb, Yugoslavia - Boulder Colorado Art Museum -Group Show - Patterns - 1979 Architect in charge of Design - Daniel L Dworsky 1977-1167 unit Elderly Housing in Downtown Los Angeles, California - Modular & Concrete Panel System & In situ concrete-largest federally funded elderly housing West of the Mississippi. Architect in charge of Design - Maxwell Starkman - Twin Luxury condo High Rises - Westwood, California. Jon Brees Thogmartin Architects 1982-2011 - Mixed use projects, Artist in Residence projects Professor - Longview Community College & Cal State Longbeach. Organic Farmer. Artist Jon B. Thogmartin uses combinations & permutations of systems, processes & perceptions of simple forms & their variations (non-objective). Currently all work is digital.

    Jon Brees Thogmartin 8830 Reche Canyon Road Colton, Ca, 92324

  • T. Michael Stephens

    T. Michael Stephens is an American Constructive artist, planner, designer, writer. Education. Master's Equivalent Theatrical Design/Creative Writing, Art - Architecture History - Theory 1959 - 1964 The University of Kansas (and several other institutions)
    First, an abstract, geometric painter-relief constructions: shaped, kinetic canvases. Suspended, free-moving constructions: metal, plastics, mesh, shaped, acrylic, chromed brass, steel, glass.
    Pronounced "..true Constructivist" by Naum Gabo 1965. Co-founder-Co-op Gallery: New Center US Art KCMO '62-63/. Met R. Buckminister Fuller, Univ. of Kansas '64. Lecture series - Mid West US '64-67.
    Exhibition & Lecturing,
    William Jewell College, Jewish Community Center, NWMSU '64-66. Met architect Jon Brees Thogmartin 64-66 and
    co-founded Art Research Center Group 1966; toured, met international artists/groups (Nth. Am. '64-67).
    Exhibited A.R.C.Group, KC Area, Toronto, Montreal, Boston, New York '67-68. Computerized works (HP MF, '67-69. NT4 Zagreb.Artist, Speaker-Group; toured Europe visiting artists/groups 1969 and after NT5 Zagreb 1973. Electric Gallery Toronto "Mined Warps" solo 1974, "The Line" '76; "Mined Warps II" Whittington Gallery '79; "Layers of Space" Batz- Lawrence Gallery '83. Solo/group exhibitions - Madrid '89, San Francisco '91, N'lnds' 92, Napa Ca '93/'94, Winfield Ks '98, Berkeley/Vallejo Ca '98. 'Millennial Artist' (Solo Exhibition/Installation's) City Arts Tulsa 2000; PhotoSpiva National Photography 4' photograms' '06; NT&BIT INTNL (8 works,3 acquired, slides, texts, graphics) ZKM Center ArtMd., Karlsruhe '08-10/MIT Bk'10-12; et al... Rep. by Cercle et Carre Gallery CA. 2-4D Nat./Int. works: private, public, corporations, institutions, museums collections, commissions, installations, architectonic works - public, theatre, photography, teaching, writing, designing, lecturing, group activity.
    Recent activity: See link:

  • Charley Peters

    Dr. Charley Peters is a London-based painter, writer on abstract painting and independent curator. She is Course Leader on MA Illustration and Visual Media at London College of Communication.
    Peters’ work is concerned with the spatial potential of the painted surface, on which she applies subtle variations in colour, tone and scale to construct illusionary light and structural depth. Starting from an interest in the legacy of hard-edged abstraction, her work considers the manifestation of painterly language in the context of contemporary media, where viewers experience multitudinous visual information in quick succession, often dematerialized and seen on screens. Using techniques of layering, opposition and juxtaposition as a means of exploring the materiality of paint, Peters explores the disrupted syntax of pictorial composition synonymous with our experiences of reading space, material and abstract form in the post-digital image world.
    Peters has exhibited work widely at an international level, showing recently at Saatchi Gallery (London), Coventry Biennial of Contemporary Art (Coventry), PaintLounge at Sluice Expo 2018 (Berlin), dalla Rosa Gallery (London), Z20 Sara Zanin Gallery (Rome), Yantai Art Museum (Yantai), Art 2 (New York) and Boecker Contemporary (Heidelberg). Peters has contributed writing about painting to online and print publications that include Instantloveland, A-N, Turps Banana and Abstract Critical. She is a peer reviewer for The Journal of Contemporary Painting and an independent curator, recently curating the group exhibition Merge Visible, Contemporary British Painting through a Virtual Window for the Contemporary British Painting group. Peters completed a PhD in Fine Art Theory and Practice in 2006, which explored notions of interior space in art and its relationship to Freud’s writings on The Uncanny.
    https://www.arts.ac.uk/colleges/london-college-of-communication/people/charley-peters. Solo exhibitions. 2015 Charley Peters, Sluice Projects, The Hospital Club, London. 2014 Liminality, Encounter Fine Art Digital Space, London. 2013 Reduction, Public House Projects, London. 2013 In Occupation, Centre for Drawing, London. 2013 Axiom, ASC Window Space Gallery, London. Group Exhibitions 2020 Constructive Reductive, Pop Gallery, Brisbane, Australia. 2020 Perfectionism IV: A Trick of the Eye, curated by Becca Pelly-Fry for Open Art Advisory, online. 2019 Favorites, Ambacher Contemporary, Munich. 2019 Made in Britain, 82 Painters of the 21st Century, National Museum of Gdansk, Gdansk. 2018 Harder Edge, A Survey of Recent Abstraction, Saatchi Gallery, London. 2018 PaintLounge at Sluice Expo, Kühlhaus, Berlin. 2018 The New Non: New Narratives in Non-Representational Art and Abstraction Flux Factory, New York....

  • Aaron Perkins

    Aaron Perkins is a Brisbane-based artist whose practice draws from literature, online reportage and cryptic crosswords to explore a playful enthusiasm for written language alongside a skepticism of narrative authority through the medium of painting. Using a process of grammatic abstraction, allied with an exploration of the physical relationship between a painting and its viewer, his works oscillate between surface and interface to similarly require an oscillation between looking and reading. This tension is embedded within Perkins’ doctoral research into how fiction might be used as a method in painting to explore the enabling fictions of reality. Education. PhD candidate Queensland College of Art ("QCA"), Griffith University 2019. BFA (Hons, Class I) and recipient of the University Medal, QCA, 2018. Bachelor of Fine Art with Distinction (Painting/Art Theory), QCA, 2015-17. Exhibitions: solo/duo. Valdetta, Grey Street Gallery, South, Brisbane, September, 2020. At the still point, there the dance is, Jan Manton Art, Brisbane. February, 2020.
    Chronicle, Jan Manton Art, Brisbane, April, 2019.
    Don’t drink the milk!?, Webb Gallery, South. Brisbane (with Emmalyn Hawthorne), June, 2018.
    Group Exhibitions
    Constructive Reductive, POP Gallery, Brisbane, August, 2020. Boiling Point, The Third Quarter, Brisbane. January, 2020. Friends and Family, Daine Singer, Melbourne Nov., 2019. In the thick of it, The Third Quarter, Brisbane, October, 2019
    You can lead a horse to water..., Grey Street Gallery, South Brisbane (curator), August, 2019
    Sunshine Coast Art Prize, Caloundra Regional Gallery, Caloundra, (Au)., July, 2019.TRACE Biennale and Art Auction, Brisbane, July, 2019. Moreton Bay Region Art Awards, Pine Rivers Art Gallery, Brisbane, May, 2019. Neue Latitudes, POP Gallery, Fortitude Valley, February, 2019. On a Roll!, POP Gallery, Brisbane, November, 2018. Untitled group show, QCA, South. Brisbane, November, 2018. Monochrome & Polychrome, Aspire Gallery, Red Hill, October, 2018. Flatshare, QCA, Sth. Brisbane, November, 2017. Undergrowth, Webb Gallery, South Brisbane, February, 2017. Prizes, residencies, et cetera. Finalist/Elaine Bermingham National Watercolour Prize in Landscape Painting, 2020.
    Crow's Nest Artist in Residence, Chambers Island, Maroochydore (Au), October 2020. Finalist in Sunshine Coast Art Prize, 2019. Finalist in Moreton Bay Art Prize, 2019. Outer Space x In Residence ARIs Studio Visits Program, July 2018. In Residence ARI instagram residency and interview, September, 2017. Online finalist Lethbridge 10000, Lethbridge Gallery, Brisbane, July, 2017.

    Aaron Perkins is represented by Jan Manton Gallery. Brisbane.

  • Karin Schomaker

    Karin Schomaker:
    Tuning in with the work of Roland Kuit I designed maquettes from waste materials. In order to create what I had in mind I had to bring the material to another level via photography and photo editing. The character and essence of each maquette or it's detail has been brought forward by leaving out color. Each environment is supposed to be a concept of space and light: An experience as such, and designed to fit in the sound composition. Biography Karin Schomaker Visual artist, Multi Media Designer. At a very young age, Karin Schomaker was fascinated by the 'build environment':
    Architecture. Later, in photography she captured what caught her the most through the selection of detail and element - lifting them out of their original context and exploring the newly created elements. More recently Karin had the opportunity to bring abstract photography to a new level via visuals.
    This offered her the opportunity to explore in new ways her never ending experiments. The visuals that interact with sound add a new dimension of time. This may result in an exciting scenery of evolving forms open structures and grids as well as semi-transparent, colored and curved walls. How much randomness can a structure bare and still tell what is to be told? At which point does a diffuse form turns into ‘noise'?What does the subtle difference between surface and texture mean in terms of tactility? This is all paving the way to a new language. Education: Art History-History of Modern Architecture at University of Utrecht. 1989 University of Utrecht: Les Villes Nouvelles de Paris - master/doctoral workshop study with the architect Rem Koolhaas: Interdisciplinary (Art History, Sociology, Urban design etc). University of Utrecht: Art History / History of modern architecture. Publication Michiel Brinkman, 1873 -1925 K. Schomaker, E. B. F. Pey, J. P. Baeten, T. Boersma, C. Curré, D. C. Segaar-Höweler Stichting Bonas, 1995. Graphic photo design. Since 2011 - co-operation with the composer Roland Kuit: Abstract and photography based visuals that interact with sound. Events. 2018 Yerevan Armenia - Tumo Centre for Creative Technologies/ ICAE. 2018 - Metro Project (assistant)
    2016 - Montfort University, Leicester UK - Kyma International Sound Symposium - Visuals for 'Gruis / Grit' by Roland Kuit, composer. 2016 KISS 2016: Emergence. Lecture The relation between art & sound, Roland Kuit and Karin Schomaker. 2016 Festival Internacional de Música Experimental en Vallecas, Sonikas XIV. 2016 At Ars Aemula Naturae, Leiden - solo expo Tineke Porck - Performance with Roland Kuit, composer. Visuals and sound. 2016 Galerie Bos Fine Art Utrecht NL - Visuals for: 'algebra as a metaphor for poetry' by Roland Kuit, composer. 2016 Central Library The Hague, NL. Visuals for: 'algebra as a metaphor for poetry' by Roland Kuit, composer.

  • Joseph Buis

    Je suis né à Saâcy Sur Marne (France) en 1955, et j’ai commencé à peindre dès l’âge de quinze ans en
    suivant les conseils d’artistes locaux; aussi je considère être autodidacte. En parallèle de la peinture, j’ai travaillé en tant qu’Educateur Spécialisé et Art Thérapeute auprès de
    personnes en difficultés, jusque l’âge de la retraite.
    En 2014, après avoir cessé de peindre pendant 15 années, j’ai repris mon travail de peintre faisant
    table rase de mes recherches passées, et peignant des toiles monochromes grises avec des lignes verticales et horizontales. Les peintures de P. Mondrian et F. Morellet furent pour moi des sources d’interrogation et de réflexion. Depuis j’ai introduit les diagonales et les couleurs, pour élargir mes travaux. Ma démarche actuelle se situe autour d’un travail structural géométrique: construit, déconstruit, composition, décomposition, peint/non-peint, avec des lignes diagonales de tension inscrites dans des perspectives planes, sur des toiles assemblées par modules pour présentation en polyptyques. Bibliographie: Revues:1992 Jean CATHELIN, à la découverte (l'iris espace n°8).1994 Jean CATHELIN, mémoire de la peinture (l'iris espace n°15) Catalogues: 1982 ARTEDER 82 -muestra internacional de obra grafica de Bilbao, 1995 SNAP-CGT -l'artiste et la transformation du monde (centenaire de la CGT 1895-1995). Collections: Publiques, Bibliothèque Municipale, La Ferté S/s Jouarre. Abbaye Notre-Dame, Jouarre Centre Benoit Frachon, Fonds d'Art Contemporain CGT, Gif S/ Yvette Collections Privées: France, Suisse, Italie, Espagne, Allemagne, Belgique, U.S.A. Parcours:
    Principales Expositions Personnelles: 1976 Galerie LA MANDRAGORE, Paris
    1977 Abbaye NOTRE-DAME, Jouarre.1980 Bibliothèque Municipale, La Ferté S/s Jouarre.
    1982 Musée des Capucins - Coulommiers
    1982 Bibliothèque Municipale - La Ferté S/s Jouarre
    1985 Banque SNVB - Chelles
    1988 Foyer des Jeunes Travailleurs - Meaux
    1994 Galerie ARTE VIVA - Levallois-Perret
    2018 Galerie PARCUS - Berlin Allemagne
    2019 Lycée Colbert - Lorient
    Principales Expositions de Groupe:
    1976 Salon d’Hiver – Grand Palais Paris
    1977 Salon des Surindépendants – Musée du Luxembourg Paris
    1978 Les Yeux Fertiles – Musée André Planson La Ferté S/s Jouarre
    1982 Arteder 82 - Bilbao Espagne.1983 Musée Briard - Saint Cyr S/ Morin
    1984 Halle aux Grains - Provins.1985 Musée André Planson - La Ferté S/s. Jouarre 1988 1989 1990 Musée Henri Matisse - Creil
    1995 Centenaire SNAP CGT ENSBA Paris. 1996 Centenaire SNAP CGT. Exposition tournante Lille, Marseille, Toulouse, Strasbourg, La Rochelle, Nanterre, Créteil, Bobigny
    2000 Paris - Mairie XIX°
    2018 Réalités Nouvelles – Parc Floral - Paris. 2018 Affordable Art Fair – Galerie PARCUS – Milan
    2019 Single Work – Galerie MEDINA – Rome. 2019 Réalités Nouvelles – Parc Floral - Paris

  • Liz Helman

    2020. My art practice, both sonic and visual, is about place and dislocation and invariably explores this in urban environments. I was interested in the idea of making a piece that explores places and atmospheres through sounds that drift in and out of consciousness; as if on the edge of or travelling though places that could be anywhere, yet recognisable. With this, I wanted to explore concepts of long extended hypnotic sequences that are steady states with longer durations of sound, allowing for active listening. I wanted the city as a manic place with drifting field recordings of voices and transit using the drones as a suppressant to this; hence the title, Lithium City. Exhibitions, Events, Performances. 2019 Live performance Danielle Arnaud Gallery, London, part of Mercurious, with Kim L Pace and Sarah Woodfines. 2019 Performing for Corpora Aliena, IKLECTIK, London. 2019 Gardner Helman Salnikov trio, Skronk Fest, London. 2019 Performing for Kate Carr + Guests, TACO Gallery, London.
    2018 Performing in Digital Voice at IKLECTIK part of Digital Culture + Gender Festival, London

    2018 with Steph Horak, performing as 2H, Corpora Aliena at IKLECTIK, London
 2018 sound work as part of: Violence Silence, curated by Vanya Balogh, Cello Factory, London. 2018 headlining performer. for Corpora Aliena with Bernhard Living+ Christine Webster, IKLECTIK, London. 2018 Light [Drone], a short sound piece included in res.o.nant, an installation by Mischa Kuball at the Jewish Museum, Berlin. 2017 Album launch, Daylight Dreaming, on Kohlenstoff Records, Montreal 2017. Sound work in International Concrete, Marcela Jardon Gallery, Barcelona, Spain. 2017 Debris Storm, work on wood, The Crash, A Frieze Week Collateral Show, London. 2017 Performer at IKLECTIK, London. 2017 Women in Sound, Women on Sound, lecture about work at Goldsmith’s, London. 2017 Performer with Irena Tomazin as part of ZVO.ČI.TI so.und.ing DUO CONA | institute for contemporary arts processing, Ljubjlana, Slovenia. 2016 Performing at Chelsea College of art as part of MUSLAB festival
    2015 Performing with Lola de la Mata as a duo at Hundred Years Gallery, London. 2015 [en]trapped soundpiece included in Synthesis Vol 2, Urban Arts, Berlin. 2015 Album launch, The Truth Inside, on Kohlenstoff Records, Montreal. 2014 With LHDH, Southgate Studios, London 2014. Light[drone] screened at Castlefield Gallery, Manchester with LUX13. 2014 Light[drone] screened at Millennium Film Workshop, New York with LUX13. 2014 Light [drone] screened at LAB Film Festival @ Hackney Wicked. 2014 New York City Electroacoustic Music Festival. 2013 Parallel Moment, tAd Gallery, Denton, Texas, USA. 2013 New release from Liz Helman and Bernhard Living: Home + Remix Curated Shows. 2012 Young Photographers Alliance Mentoring Scheme; mentor and co-curator. 2012 Facing You, photography exhibition for Fringe! Gay Film Fest, London. 2003 Before.After. Now – Visions of Iraq. Art from Iraq. 2003 Published photography in French magazine BILBOK.

  • Elizabeth Day

    Dr. Elizabeth Day. Sydney Australia. Education 2009–2013 Doctorate of Creative Arts, Department of Writing and Society, University of Western Sydney. 2002–2004 Master of Arts Administration, College of Fine Arts, University of New South Wales.1994–1997 Master of Fine Arts. Elizabeth Day is a visual artist and arts facilitator whose career spans more than 30 years. She maintains a studio practice in Sydney, NSW, and Bruny Island, Tasmania (AU). “Creatively, Day’s work has been at the forefront of developments in feminist art practice, as it has engaged with issues of transportation, colonisation, migration, exile, and adaptation through practices of creating networks and histories: tracing traumas and sketching survivals.
    “Day’s work cultivates an alternative ecology founded on the ethics of care and generosity, an ethics that aspires to honour the equivalence of all things, and through that non-hierarchical acceptance, attempts to make amends for injuries both personal and historical.” Peter Hutchings, Discontinued Narratives: Elizabeth Day. 2017. Elizabeth Day is currently researching “Working in the Trouble”, a new doctoral project at Deakin University. This research will develop a theoretical framework for 6-7 inter-related projects that Day has developed since 2013. Solo Exhibitions 2020 Facing the Dark, Articulate, Sydney. 2019 Invisible Words - Invisible Worlds, Articulate, Sydney. 2018 Abstraction, Abjection, Activism: The Fragility of Goodness, Moonah Arts Centre, TAS. 2017 Invisible Words - Invisible Worlds, Parramatta Justice Precinct, The Big Anxiety Festival, curated by Claire Taylor. 2011 The Law Is Not Always Just, Conny Dietzschold Gallery, Sydney. 2010 Liverpool/Liverpool, the skin of translation, Casula Powerhouse, Liverpool NSW and Dickens Gallery, St. Georges Hall, Liverpool UK (presented as part of the Liverpool Biennial). 2009 Conny Dietzschold Gallery, Sydney. 2006 Cologne Art Fair (Conny Dietzschold Gallery). 2005 The Unravelling of Form and The Fragility of Goodness, Conny Dietzschold Gallery, Sydney. 2004 Sunburn, K3, Hamburg, Germany, curated by Anita Fricek. The Spat Out Ones, MOP Gallery, Sydney. Conny Dietzschold Gallery, Cologne. Notes on the castle, Tin Sheds Gallery, University of Sydney, with catalog notes by Ann Finigan. Group Exhibitions. 2020 Constructive Reductive, POP Gallery, Brisbane. Hauswerk, McClelland Gallery, Melbourne. Older Than Language, Salamanca Arts Centre, Hobart. 2019 Currently developing work for Crime Scene, Longford Town Hall, Longford, TAS (presented as part of Ten Days on the Island arts festival), with Anna Gibbs, Julie Gough and Noelene Lucas. Haus Werk, McClelland Gallery, Melbourne, curated by Jane O’Neill (an exhibition revisiting the influences of the Bauhaus in Australia). 2018 Crossfires, Articulate, Sydney, curated by Barbara Halnan. Conny Dietzschold Gallery, Sydney. 2011–2018 The Longford Project, Longford Town Hall, Longford, TAS (Ten Days on the Island arts festival, Longford, TAS), with Anna Gibbs, Julie Gough and Noelene Lucas. https://elizabeth-day.com/

  • Roland Emile Kuit

    Roland Emile Kuit is a sonic art pioneer who proceeded beyond the acoustic field after having studied flute at the Royal Conservatory, The Hague. He has conducted research into electronic music at the Institute of Sonology, Utrecht (1980s). At the IRCAM in Paris he experimented with new approaches to acoustic composition leading to research of physical modeling in spectral music. Kuit’s work ranges from experimental sound, architectural installations, to acoustic performances and composing for public spaces. He researches chaotic systems, sound at the atomic level, morphology and decision-making processes using algorithmic and stochastic approaches; and new models in feedback systems. His research of sound design equipment includes: Kyma Pacarana, Buchla 200, SCOPE SDK6 Max/MSP, Xite, Modular IV, Xite-1, Nord Modular, KLC MS-20, Fortran IV, NMG2, Voltage-control studio (BEA 5) Institute of Sonology, ARP2600. Selected music, sonic art - performances, exhibitions. International Festival for experimental music Sound Around Kaliningrad 2020, (NCCA Kaliningrad) Russia
    _MONUMENTUM, Beyond the Silence - VI Chigiana International Festival & Summer Academy Sienna, Radioarte Italia_ Constructive Reductive, 2020. POP Gallery Brisbane, Australia
    _FotoFest 2020 - Viga süsteemis | Error, Pärnu Linnagalerii Kunstnike Maja, Pärnu Estonia
    _OUA-EMF2019, Osaka University of Arts, Osaka, Japan _1° Festival Internacional de Música Contemporánea "Atemporánea " 2019 Buenos Aires, Argentina
    _Kulturnatt 2019: Lugna monoliter och elektroniska favoriter. Fylkingen. Stockholm, Sweden
    _Kontakt 2018 - Elektronmusikfestval, Norrköpings konstmuseum. Norrköping, Sweden. Lecturer - modular synthesis, electronic music and sonic art_TUMO Center for Creative Technologies, Yerevan. Armenia_Lecturer , De Montfort Univ. (KYMA International Sound Symposium 2016), Leicester. U.K._Lecturer, School of Computing. Edinburgh Napier Univ., Scotland _Lecturer, EMS Stockholm, Sweden. Selected Research/Sound Design_Kyma, Pacarana, Symbolic Sound_ARP 2500
    _Buchla 200_SCOPE SDK6 Xite, Sonic Core.
    Selected Discography _MONUMENTUM, The Sonic Memorial for all deceased victims of epidemics, worldwide _Variables - I, AI composed music_Musica Povera Binario, Radical minimalism_SONIC FORMS, Orbits of quantum sounds for public and private spaces_Tactile Utterance, Roland Kuit & the Fama Q String Quartet for Tomas Rajlich. Selected Bibliography_NOISE and SONIC STACKING_Vault of Patterns. Author "Laboratory of Patching" the Illustrated Compendium of Modular Synthesis. Selected works Electronic, Acousmatic
    2019_ aes Campanum, Bronze soundscape - World church & cathedral bells, Kyma_Variables 1 - 6, AI compositions by data mining seeds of Erik Satie - Kyma. Sltd wks. Sonic Art, Sound Sculpture
    2020 MONUMENTUM, Sonic Genoms, memorial for epidemic victims across time, worldwide. 2019 SONIC FORMS - Sonic environments, orbits of quantum sound for public and private spaces
    2018. Sltd. Archives, Swedish Film Institute, Stockholm, Sweden _ EMS Stockholm, Sweden _Composer at Donemus, The Hague.

  • Judith Cisneros

    Judith R. Cisneros.
    Argentina. DNI 14.751.571
    Professor of Fine Arts. University of Buenos Aires. "Matter and energy change the geometry of space... light is matter and energy.
    To sculpt a beam of light,
    I take the materiality of light as expressive concrete mass to be sculpted and shapes to communicate its own essence, creating luminous volumes, perceptually visible but ethereal, transparent and intangible ...light objects in the space with volume and identity...objects that can be passed through, by the body, that integrate us to its atmosphere, changing in quality, color and definition; stimulating perception".
    Professional artist 1987 - present (35 years). Member of A.R.C.(Art Research Center of Constructive Art) Kansas Mo, USA. Member of CHELA, Latin American Experimental Hypermedia Center, Argentina.
    Secretary, Director of Culture. Ecoconciencia Foundation. Jan 1996 - present. Education: Prilidiano Pueyrredón Superior School of Fine Arts 1984-1987. University of Buenos Aires. Awards. "Woman of the Year in Culture", awarded by the Press and Broadcasting Center, Peru, for work performed as Director of the Ministry of Culture, Cultural Heritage and Tourism, Peru. Exhibitions of Art, Painting, Sculpture in Argentina, Australia, Peru, Ecuador, Chile, Greece, France, Saudi Arabia. Exhibitions (recent). Constructive Reductive, POP Gallery, Griffith University. Brisbane, Australia, 2020. Potestade da Luz, Fortaleza, Brasil. November, 2019. Eulogy of Light, National Gallery of Fine Arts, Santo Domingo, Dominican Republic March, 2020. Ilhuicac Tlanenextli, Resplandor del Kielo, Anahuacalli Museum of Diego Rivera & Frida Khalo, Coyoacán, Mexico, November, 2020. A.R.C. 50TH ANNIVERSARY Celebrations: "10/2016-10/2021. Events, Exhibitions, Tours (2017-2020)". FUTURE. The Temple, Musa Museum, Guadalajara, Mexico. February, 2021. SL Gallery, New York, April, 2021.
    Solo Exhibitions: Chesed, the tree of the desires. Museum of UBA, Bs. As. Argentina 2018. Formas a la luz. Sin Reservas. Museum of Fine Arts, Tucumán. Argentina, 2018. Umbral, Intervention Mural, Museum of National University of Art, Argentina Bs. As. 2018. Olympus: The highest among the high, the luminous. Museum of Cárcova- National University of Arts, Argentina Bs. As. 2017. Performance, The Flight of Victory, Museum of Cárcova- National University of Arts, Argentina Bs. As. 2017. Performance, The Awakening of the River Cephiso, Museum of Cárcova, National University of Arts, Argentina Bs. As. 2017. Tower of Freedom, Site specific Intervention with Light and Sound. “Torre Ader” Bs. As. Argentina, 2017. Momentum, the Substance of The Light. Museum BAPRO, Bs. As. Argentina, 2017. Centro hipermediático experiment al Latinoamericano, Argentina, 2016. Fundación Cassará, Buenos Aires, Argentina, 2014. Geometry, Base of Humanity. Galería Embajada de Perú en Riad, Arabia Saudita, 2013. Geometry of The Light. Galería Embajada del Perú en Atenas, 2011. Geometría y Espacio. Instituto Nacional de Cultura, Lima Perú, 2008. Transparencias Geométricas, CentroCultural Goethe,
    Bs. As. Argentina, 2006. “Síntesis de Luz”. Galería, Embajada de Perú en París, Francia, 2002. Centro Cultural “Salón del Pueblo” Cuenca, Ecuador 1997. Instituto cultural de providencia, Santiago de Chile, 1994. https://www.judithcisneros.com/

  • Gosia Koscielak

    Gosia Koscielak Studio & Gallery (PL/US)
    President MEK Design Studio, Inc. Education. 1994 MFA, School of the Art Institute of Chicago, USA. Major: Time Arts (Multimedia). 1992 Adjunct Professor (equivalent of PhD). 1987 MFA, Academy of Fine Arts, Wroclaw, Poland. Major: Commercial Ceramic Design. 1986 MFA, Academy of Fine Arts, Wroclaw, Poland. Major: Graphic Design. Fellowships 1992-94 Fulbright Scholarship, The School of the Art Institute of Chicago, Illinois. 1989 Polish Ministry of Culture Fellowship. Awards. The Field Museum Millennium Projects: Sounds from the Vault, a Winner Exhibition. In 2000 (Gold) awarded by The Media and Technology Standing Professional Committee of the American Association of Museums (AAM). 2000 Muse Awards, AAM Conference Baltimore, Maryland. Member of the lighting design team. My project Virtual Unism realizes and extends Unist theories created by Katarzyna Kobro and Wladyslaw Strzeminski, two early XX Century art pioneers. In their book Space Compositions: Space – time Rhythm and Its Calculations from 1931, they described the mathematics of the open spatial compositions in terms of an 8:5 ratio which lead to their Unism theory. This model evolves from the natural harmonic proportion, found in nature. Kobro used the golden section, coming from Pythagorean theory and Fibonacci sequence of natural numbers and was interested in the process of creating arts towards nature using technology as wells as addressing the bio-mechanical architecture of the human body. In Kobro’s theory a human body movement in space and time creates the form, the sculpture. “Virtual Unism” shows how virtual reality could create the same forms in the infinity, and how Kobro’s theory can be translated and interpreted in virtual space.
    Solo Exhibitions. 2007 The Sweet Hereafter curated by Raul Zamudio, The LAB Gallery, New York, USA 2005 Eco-social Sculptures, Pool Art Fair, NewYork, USA. Eco-social Sculptures, Chicago Arts District Exhibitions, Open House, Chicago, USA. Artist Space exhibition, NOVA, Young Art Fair, Chicago, USA.1997 Installation Gaps in Memory, The Polish Museum of America, Chicago USA.1995 Gaps in Memory & Extrapolations, UALR, The University of Arkansas at Little Rock, Gallery 2, USA. 1993 Gaps in Memory, Mindy Oh Gallery, Chicago, USA. The New Pier Show, Chicago, USA. Between, ARC Gallery, Chicago, USA. Gaps in Memory, Artemisia Gallery, Chicago, USA. Identity-Identification; The School of the Art Institute of Chicago, USA. Europe, performance, Wooden Gallery, Chicago, USA Konstruktiv und Konkret, Kleine Galerie, Ilmenau, Germany 1991 Vacuum, BWA Maly Salon, Wroclaw, Poland Balance, Miejska Gallery, Wroclaw, Poland. Micro Hall Art Center, Edewecht - Oldenburg, Germany 1990 Energy of Space, SBWA, Wroclaw, Poland Sculpture "Kitchen", Warsaw, Poland. Concealed Energy, Gallery Entropia, Wroclaw, Poland Exposed Energy, Museum of Architecture, Wroclaw, Poland 1988 Stimulation of Space 2, ON Gallery, Poznan, Poland Inscrizione Verticale, Artestudio, Pontenossa - Bergamo, Italy. Ephemeral Installation, Young Artists Symposium, Contemporary Theatre, Wroclaw, Poland. Ephemeral Installation, Gallery of Action, Warsaw, Poland. Exhibition Vacuum, BWA Maly Salon, Wroclaw, Poland.

Forming - A compilation of notes and information

judith cisneros_puntos de vista_australia crx2020_video still_copyright 2020

Written by Judith Duquemin


It is obvious that an imagined world, however different it may be from the real one, must have something - a form in common with it.

Ludwig Wittgenstein Tractatus Logico-Philosophicus                                                                              

Constructive Reductive is a multi-disciplinary exhibition of contemporary, constructive art by twelve international artists whose practices include: immersive light installation; virtual reality/eco-sculpture; projective relief; painting and narratology; structural/spatial/geometric/code-defined painting; luminal kinetic construction/photo sets; immersive drone-based sound-scape; digital drawing; sonic science, audio art and sound plastics. The purpose of this essay is not to canonize the works in a literary sense, more to allow us to understand them better through a closer understanding of artist intentionality, an important subject that often evades the formal critique of an artwork. Intentionality in philosophy refers to “the quality of thoughts, beliefs, hopes, desires, and other mental states which consist in their being directed towards some object or state of affairs”[1], for example the intention to create in a certain way. Constructive Reductive, the title of the exhibition broadly refers to mental processes of bringing together elements to form, an event made up of a series of basic actions that mentally contribute to the actual formation of something, hence the title: Forming.

A basic action is a mental action of volition or willing. The premise in this essay is to suggest that basic actions reflect our primary intentions: are constructive agents; are expressions of a sometimes constructive - othertimes reconstructive brain, depending on the mental event. Such mental events have become the focus of digital brain mapping. They add to a definition of constructive process in contemporary art, at the same time embracing the intentions of the early Constructivists whose attempts to link the mind to constructive process was limited by scientific knowledge of the day.

Basic actions can be viewed as expressions of freewill which derive from the Latin verb “velle” meaning “to will or “to wish”.  The exact nature of freewill lacks consensus but is generally referred to as the ability to choose and act freely. Opinions are divided between compatibilist and non-compatibilist arguments based upon a freedom to choose, or an action that is determined. Explanations of freewill state: that freewill is an illusion yet good for believing in; that freewill is a self-forming action where desires are played out; or that consciousness and decision-making stems from our brain with all human behaviour a direct product of natural laws. The philosopher Robert Kane (1938 -) a contemporary writer on freewill, summed up the non-compatibilist argument when he said: “Freewill and responsibility requires that we assess our first-order desires or motives and form “second-order volitions” about which our first-order desires should move us to action. Our “will” - the first-order desires that move us to action - are 'free'...when they conform with second order volitions, so that we have the 'will' (first-order desires)…we want (second-order desires)… and in that sense we 'identify' with our 'will' [2]. Most likely freewill is a combination of natural laws and human intervention on a psychological level to serve things like autonomy, moral responsibility, or creative intention. “When an agent acts freely - when she exercises freewill - it is up to her whether she does one thing or another on that occasion. A plurality of alternatives is open to her, and she determines which she pursues. When she does, she is an ultimate source or origin of her action. So runs a familiar conception of freewill”[3].

Basic actions are involuntary actions that don’t always occur because of choice. In the philosophy of action, Ludwig Wittgenstein (1889 - 1951), used the argument that movements are both voluntary and involuntary. In a well-known statement about “trying” he said: “What is left over if I subtract the fact that my arm goes up from the fact that I raise my arm”[4]. Wittgenstein questioned the voluntariness of a voluntary movement[5]…stating that one does not distinguish one’s voluntary actions by an inner experience. Unless they are felt in a particular way to be different, one would not know which of one’s actions one had brought about[6]. Wittgenstein’s main objection to other theories of action was that they favoured the voluntariness of action by identifying something relative or something that accompanied voluntary action[7]. Adding that “our tendency is to describe something as a matter of atmosphere around a situation in too primitive a way”[8]. Wittgenstein said one doesn’t imagine movements and watch them happen. Actions viewed in this way are actions that are willed and lead to the habit of identifying causes. Actions can occur kinaesthetically without our observation of them occurring without any feeling of innervation, one can think, imagine, or calculate in the head without feelings associated with the mental activity. Wittgenstein’s stand influenced new volitional theories within the philosophy of action, seeking to avoid the reductive tendency of directly linking actions to certain mental events[9].

The concept of basic action was first introduced by American art critic and philosopher Arthur Danto (1924 – 2013) who said ‘if there are any actions at all there are basic actions that don’t cause things to happen[10]. New Volitional Theory in the late C20th. also described volition as a series of actions, not happenings linked to causes. Thoughts that give rise to movements in our body are actions…are forms that possess content…are propositions without a result[11]. They contribute to the artist’s process of working, a process more governed by healthy failure than calculated success. The object of the artist’s intention is not the completed work as is often supposed. The object is simply to "begin"…to piece together elements propelled by a personal knowledge, progressing beyond a series of hunches and staged guesses to a point when new ideas emerge from within the medium in an intuitive, inspiring, and meaningful way. It involves a process of bringing together and acting upon mental representations such as quale, imaginings, intuitions, visions, memories, knowledge, thoughts that strike…, providing a framework for constructing a set of relations that will ultimately form to become something that communicates as art.

Artist intentionality has been addressed throughout the centuries in different ways from selected art and artist writing to scientific brain mapping of our most basic thought processes, to include the lesser understood faculties that enable creative thought. A good example of artist writing from earlier times is the artist diary of the French Romantic painter Eugene Delacroix (1798 – 1863). Much later published examples of the artist manifesto provided a collective overview of artist intentionality, often in support of an art movement. They were a common feature of the modernist avant-garde that attempted to address a range of personal, cultural, social and political issues sometimes altogether. Manifestos like De Stijl (1917) by co-founders Theo van Doesburg (1883 – 1931) and Piet Mondrian (1872 – 1944) (et al) and The Realistic Manifesto (1920) by Naum Gabo (1890 – 1977) (et al) effectively changed the course of art in some fields[12] [13]. Manifestos, artist statements, daily 'to do' lists, interviews and collected writings, intellectual property, podcasts and social media, documentaries and cinema, provide insight into the intriguing realm of artist intentionality with perhaps the most reliable source being that of artist writing in particular the artist diary. Many leading artists have sought to document their personal and practical intentions. British painter Bridget Riley (24/04/31 -) is recognized for her accurate commentary about creative inquiry. “An artist's early work is inevitably made up of a mixture of tendencies and interests, some of which are compatible and some of which are in conflict. As the artist picks his/her way along, rejecting and accepting as he/she goes, certain patterns of enquiry emerge"[14]. Riley is masterer of the psychology of painting process for the way that she exposes and articulates the most fundamental of thoughts and gestures involving the medium that lead to the construction of each new work. Specific quotes about her classic approach to creative research can be found online by following the link in the footnote, and in every text she has written or has had written about her. 

Art historian Erwin Panofsky (1892-1968) cited the limitations of historical analysis for defining artist intentionality by stating: “a purely historical study whether it proceeds from the history of form, or the history of content never explains a work of art as a phenomenon except in terms of other phenomenon adding that historical critique does not draw from a higher source of perception to explain the artist’s production within his/her time…He cited Kunstwollen, a principle that lies ‘beneath’ the phenomenal appearance of the work adding that production represents not only the expression of subjects but the informing of materials, not the given events but results”[15].

The Hungarian biologist and philosopher Michael Polanyi (1891 – 1976) was motivated by the role that intuition played in intellectual inquiry believing that western knowledge had overlooked the tacit dimension of epistemological endeavour. He referred to knowledge as a process of knowing whereby actions of the body in conjunction with the mind help us to discriminate and form judgements about things. His theory is very useful for defining practical knowledge adding that all knowledge is either tacit or rooted in tacit knowledge. Much like artist knowledge, tacit knowledge is silent knowledge, knowledge we know but cannot always tell. Tacit knowledge, a term coined by linguist Noam Chomsky (07/12/28 - ), refers to a language of tacit knowledge underlying linguist rules. He called the concept ‘unconscious knowledge’[16]. The idea that our thoughts and behaviours are influenced by operations inaccessible to consciousness had been addressed in psychology and philosophy by other thinkers such as Herman Helmholtz, Franz Brentano, Sigmund Freud, Gilbert Ryle, and Charles Pierce…[17]. Tacit knowing today is known as procedural memory ‘a type of implicit memory which aids the performance of particular types of tasks without conscious awareness of previous experiences. Procedural memory guides the mental processes we perform, and most frequently resides below the level of conscious awareness’. Polanyi included action in the behaviour of perceiving and applied it to the principle of Gestalt psychology quote:

“I am looking at Gestalt, on the contrary as the outcome of an active shaping of experience performed in pursuit of knowledge. The shaping and integrating I hold to be a great and indispensable tacit power by which all knowledge is discovered, is held to be true. The structure of Gestalt is then recast into a logic of tacit thought, and this changes the range and perspective of the whole subject…As such it will be shown to form the bridge between the higher creative powers of man and the bodily processes which are prominent in the operations”[18].

In the pursuit of a less autonomous art expression, Theo Van Doesburg stated in the Principles of Neo-Plastic Art’ (1917), that the formative idea is given direct and actual express by continual cancelling out of the expression means…’[19].

“The aim of the formative artist is simply this: ‘to give form to (his/her) aesthetic experience of reality or, one might say, (his/her) creative experience of the fundamental essence of things… The essence of the formative idea (of aesthetics) is expressed by the term cancellation. One element cancels out another. This cancelling out of one element by another is expressed in nature as well as in art. In nature, more or less concealed behind the accidents of the particular case in art (at least in the exact formative kind), clearly revealed. Although we cannot grasp the perfect harmony, the absolute equilibrium of the universe, each and everything in the universe (every motif) is never the less subordinated to the laws of - this harmony, this equilibrium. It is the artist’s business to discover and give form to this concealed harmony, this universal equilibrium of things, to demonstrate its community to its own laws, etc. The (truly exact) work of art is a metaphor of the universe obtained with artistic means”[20].

Doesburg’s concept of ‘cancelling out’ bears resemblance to the current neuroscientific principal of predictive processing (or predictive error minimization) mostly in association with the Bayesian brain whereby the brain sees percepts, not images or their equivalent. According to neuroscientist Eric Kandel (1929 -) percepts run through a web of unique memories of prior experience, emotional responses and mirror neurons, forming a mental image that we decide to relate to, keep or discard [21]. The shared idea is that our perceptual experience – whether of the world, of ourselves, or of an artwork – depends on the active ‘top-down’ interpretation of sensory input. Perception becomes a generative act, in which perceptual, cognitive, affective, and sociocultural expectations conspire to shape the brains ‘best guess’ of the causes of sensory signals received.

Bayesian brain theory draws from Hermann Helmholtz’s concept of ‘perception as inference’ and is applied to Bayes’ theorem named after C18th. statistician, philosopher and cleric Thomas Bayes (1702 – 1761). Although not all agree, Bayes’ theorem has gained popularity across many fields of knowledge as a method for calculating the legitimacy of beliefs in the form of hypotheses, claims, propositions based on available evidence drawn from observations, data and other information. In art history, the same idea is captured by Ernst Gombrich’s (1909 – 2001) notion of the ‘beholder’s share’. Introduced by Alois Riegl, and made popular by Gombrich, the notion of the beholder’s share refers to how the viewer decodes, deciphers and interprets the intentions that underlie an artwork based upon their own life experiences. Gombrich said:

“It is the power of expectation rather than the power of conceptual knowledge that moulds what we see in life no less than in art”[22].

The essence of Doesburg’s formative idea can be extended to a biological brain that not only sorts and re-constructs sense data…it reconstructs its anatomical self. ‘The ability of the nervous system to change its activity in response to internal or external stimuli by reorganizing its structure, functions, and neural networks is known as neuroplasticity’[23]. The brain undergoes biological changes from cells to cortical remapping as a result of lifetime experience or response to brain injury. It was previously assumed that the brain stopped developing in infancy. The creative brain most artists would agree is a neuroplastic brain that responds to heightened awareness and observation, experimentation and problem solving, adding to an artist’s knowledge…, that being a reflection of his/her creative intention[24]. All of the artists in the exhibition demonstrate an experimental approach to practice. Experimental art has gained significance in an information age. According to the Australia Council for the Arts, experimental art today is an important art discipline that extends the boundaries of art through cross disciplinary inquiry and focused practical research. The process of exploration is viewed as more relevant than the completion of a fully resolved work of art. New materials and techniques are investigated for the purpose of bringing out new forms, new methodologies, and new ideas. 

Basic actions in this context are involuntary actions that don’t immediately lead to happenings. Aided by a constructive brain, they are the building blocks of creative thought. They emerge from deep within the brain structures to form mental constructs that govern all action. They imply a concept of action as form…dynamic weightless form…form as forming in the constructive sense. All of the artworks in this multidisciplinary exhibition are linked by examples of dynamic form (see Table 1. See also the artist's biographical notes.

Table 1. References to dynamic form

Charley Peters structural/spatial painting: formal illusionary, referencing and recontextualizing abstract language; Roland Emile Kuit & Karin Schomaker sonal/visual: modelled quadraphonic sound planes and architectural forms; Judith Cisneros immersive geometry/light installation: neuroperceptive dynamic structure visual/haptic/sonorous/olfactory/gustatory; Judith Duquemin structural/systematic painting: neuropliable geometric form; T. Michael Stephens luminal/kinetic construction: universal model, resonance/duration, curvilinear pattern, synthesis by motion; Liz Helman immersive drone-based sound-scape: situated in place, processed sound, extended listening; Elizabeth Day projective relief: textile as new construction; Gosia Koscielak virtual reality: eco social sculpture: transdisciplinary, free-flowing digital/organic elements in space; Jon Thogmartin digital drawings: perception and simple form, combinations and permutations, systems and processes; Joseph Buis structural geometric 2D/3D kinetic installation: modular/air current and dynamic wave pattern; Aaron Perkins painting and narratology: grammatic abstraction, relational syntax, looking and reading, subjective interpretation, potential signification. 

Form in an information age is better viewed as dynamic form according to Lev Manovich (1960 -) writer and theorist of many books about digital culture including the recently published book titled: Info Aesthetics. Based upon our reliance on information technology he highlights the significance of new and emerging examples of ‘dynamic form’ by comparing it to examples of ‘good form’ that characterized the modern era quote:

“Form, Good Form, Ideal Form, Gestalt, Malevich’s abstract compositions made of geometric primitives floating in outer space…Lissitzky’s Prouns extending Malevich’s elements into the 3rd dimension in the anticipation of International Style solids (which) soon populated every modern city,…Mondrian’s grid-making procedure,…cutting a rectangle in this way or that with certainty of (an) industrial robot,…Arp’s and Brancusi’s biomorphic shapes,…forms made of wires by Gabo, Smith, and others,… drawings carefully made by Gestalt psychologists to demonstrate human innate preference,…or the need to delineate “good form”…into the visual field…”[25]. Manovich justifies this claim by stating that the pre-occupation with form and content in modern art was accompanied by its double, ‘formlessness’ (l’informe’), a concept belonging to French philosopher and writer Georges Bataille (10/09/97 – 09/07/62) and reintroduced (1996) by Rosalind Krauss (30/11/41 -) and Yves-Alain Bois (16/04/52 -) in the text Formless: A User's Guide, that described form as a tool for creativity, not for elevating art but ‘getting it down and dirty’ and off ‘art’s high pedestal’. Bois and Krauss derived a concept of ‘formless’[1]. Formlessness has different connotations in art, culture, and philosophy, and suggests a reluctance to arrive at anything fixed, adopting strategies that imply, alter, override, or interrupt.

Manovich plays down modernism’s obsession with ‘solid objects, geometric abstractions, sculptures and 3D constructions, chairs and teapots, office skyscrapers and photographs…never thickening into something solid and fixed’[26], stating: what ‘good form’ was to modernism, ‘networking’ is to ‘informationalism’[27], being a state of social production that is shaped by mental and informational labour. Networking as an example of dynamic form, is form that is constantly changing through access to software and computers, and digital hand held devices that deliver in moments of curiosity or need. ‘Database’ Manovich adds, is also an example of dynamic form. Borrowing from Erwin Panofsky’s notion of symbolic form, Manovich says what linear perspective as symbolic form was for the modern age, database is for the computer age[28]. Different databases utilize different ways to organize data as a collection of information stored in a computer system in such a way that it can be easily looked at or changed[29]. Content is presented as layers of variable and interchangeable tables, records and fields…images and texts, sounds and video clips that lack narrative without beginning or end, unlike examples of modern fiction or cinema. Information technology drives contemporary art practices in new and dynamic ways.

Constructive technique like expressions of freewill involves a combination of natural laws (a constructive brain), and psychological intervention (creative and other mental states). It may address a range of personal, social, cultural, aesthetic or scientific concerns that appeal to the artist’s intentions (hopes, values, desires, beliefs). With creative licence and based on personal experience, it is the artist/writer’s opinion that those artists who naturally lean towards a constructive approach to art making are those who demonstrate a higher functioning imagination, being those actions that form new ideas. A higher functioning imagination contributes to an original thinking for raising our awareness about something. It is thought so far that there are eight kinds of imagination described as effectuative, intellectual, strategic, emotional or belonging to fantasy, dreams, empathy and memory construction. Whether innate or acquired - because the brain is a neuroplastic organ, a higher functioning imagination is more likely to contribute to creative inquiry that is researched based, a situation where ideas remain in a constant state of evolution. The object of focus is the process. There is no greater opportunity than now in an age of advancing technology to exercise our imagination. Aided by an information revolution imagination responds to heightened possibilities brought about by periods of rapid social change much like the time of the early Constructivists a century ago. For the artist/writer constructive technique is viewed as a natural organizational tool for the articulation of personal and practical knowledge. For others it may be a recontextualization of the original principles of constructivist theory and practice into the present day and without need for sentiment. 



Image. judith cisneros_puntos de vista_copyright judith cisneros 2020                                              






  • [1] Intentionality/Oxford Languages
  • [2] Kane, R. Introduction: The Contours of Contemporary Free-Will Debates in The Oxford Handbook of Freewill. Kane, R., (Ed.) Oxford University Press, New York, 2002, p. 20
  • [3] Clarke, R., & Capes, J., Incompatibilist (Nondeterministic) Theories of Freewill, The Stanford Encyclopaedia of Philosophy (Spring 2017 Edition), Edward N. Zalta (Ed.), URL=<https://plato.stanford.edu/archives/Spring 2017/entries/incompatibilism-theories>
  • [4] Wittgenstein, L., in Michael Scott, Wittgenstein’s Philosophy of Action, Philosophical Quarterly, Vol., 46, No., 184, July 1996, p. 348
  • [5] Voluntary movement is movement that we consciously control and is different from involuntary movement that is associated with the actions of bodily organs such as the organ of the heart.
  • [6] Wittgenstein, L., Remarks on the Philosophy of Psychology, Vol., 1., Oxford: Basil Blackwell, 1980, Paragraph, 843
  • [7] Scott, M., Wittgenstein’s Philosophy of Action, Philosophical Quarterly, Vol., 46, No., 184, July, 1996, p. 363
  • [8] Wittgenstein, L., Philosophical Investigations), Anscombe, G.E.M., & Rhees, R., Basil Blackwell, Oxford, 1958, p. 185
  • [9] A habit all too frequent when assessing artist intentionality.                           
  • [10] Danto. A. C., Basic Actions in Philosophy of Action in A.R. White (ed.), Oxford University Press, Oxford,1968, p. 51       
  • [11] McCann, H., New Volitional Theory in the Philosophy of Action an Introduction. Polity Press, Basil Blackwell Ltd. Oxford, 1990, p. 20
  • [12] “2020 marks the centenary of the radical The Realistic Manifesto written by Naum Gabo and undersigned by his brother Antoine Pevsner. The manifesto sought to redefine conventional approaches to solid mass, volume, line and colour. Instead, it advocated for the inclusion of space, time and movement’…’ By ‘realistic’, Gabo intended that art should be grounded by the present. It should express actual experience not an illusion of it. He challenged the evolving styles of modern painting such as Futurism and Cubism, which were gaining influence across Europe…He wanted art to be non-representational, dynamic and interactive in order to be universally relevant to the wider public”. Tate UK Art Terms. https://www.tate.org.uk/art/artists/naum-gabo-1137/four-principles-behind-naum-gabos-art
  • [13] “Originally a publication, De Stijl was founded in 1917 by two pioneers of abstract art, Piet Mondrian and Theo van Doesburg. De Stijl means style in Dutch. The magazine De Stijl became a vehicle for Mondrian’s ideas on art, and in a series of articles in the (first year of issue) he defined his aims and used, perhaps for the first time, the term neo-plasticism. This became the name for the type of abstract art he and the De Stijl circle practised. Other members of the group included Bart van der LeckVantongerloo and Vordemberge-Gildewart, as well as the architects Gerrit Rietveld and JJP Oud. Mondrian withdrew from De Stijl in 1923 following Van Doesburg’s adoption of diagonal elements in his work. Van Doesburg continued the publication until 1931. De Stijl had a profound influence on the development both of abstract art and modern architecture and design”. Tate UK Art Terms https://www.tate.org.uk/art/art-terms/d/de-stijl
  • [14] Bridget Riley Quotes, Art Quotes - Exploration, http://www.art-quotes.com/auth_search.php?authid=3885#.X7dBQc0zZPY
  • [15] The Concept of Artistic Volition Author(s): Erwin Panofsky, Kenneth J. Northcott and Joel Snyder in Critical Inquiry, The University of Chicago Press, Autumn, 1981, Vol. 8, No. 1 (Autumn, 1981), p. 17
  • [16] Sanders, A., Michael Polanyi’s Post Critical Epistemology A Reconstruction of Some Aspects of Tacit Knowing, Rodopi, Amsterdam, 1988, p.1
  • [17] Helmholtz is known as the founder of the science of perceptual physiology. Helmholtz believed that sensory signals only have significance as a result of associations built up by learning. Interest in illusions led him to the claim that perceptions are ‘unconscious inference’. Gregory, R., The Oxford Companion To The Mind, Oxford University Press, Oxford, 1987, p. 311
  • [18] Fuchs, T., The Tacit Dimension. Philosophy, Psychiatry & Psychology, http://muse.jhu.edu/journals/philosophy_psychiatry_and_psychology/v008/8.fuchs.html
  • [19] Van Doesburg. T. Principles of No-Plastic Art, in Art in Theory 1900 -1900 an Anthology of Changing Ideas (Charles Harrison & Paul Wood Ed.). Blackwell Publishers, Oxford, 1993, p. 281
  • [20] Van Doesburg. T. Principles of Neo Plastic Art, (Trans.) Janet Seligman, Lund Humphries. London. 1968, p. 32-33
  • [21] Kandel wrote in NY Times after publishing The Age of Insight: The Quest to Understand the Unconscious in Art, Mind and Brain, From Vienna 1900 to the present, 2012.
  • [22] Gombrich, E. H. Art and illusion: A study in the psychology of pictorial representation. Princeton University Press. Ewing, New Jersey. 1961, p. 188
  • [23] Neuroplasticity in Physiopedia https://www.physiopedia/Neurplasticity
  • [24] Judith Duquemin’s painting practice explores plastic neuropliable structures based upon a contemporary definition of neuroplasticity, © Judith Duquemin 2020 all rights reserved.
  • [25] Lev Manovich. Information and Form. Electrolobby at Ars Electronica 2000. http://electrolobby.aec.athttps://manovich.net/
  • [26] Op Cit. Information and Form                                            
  • [27] Op Cit. Information and Form
  • [28] Lev Manovich. Database as a Symbolic Form. 1998, p. 2. manovich.net/
  • [29] Cambridge Advanced Learner’s Dictionary & Thesaurus. Cambridge University Press. 2013


© Judith Duquemin 2020. All rights reserved.

Exhibition Essay. Constructive Reductive. © Artist Researcher 2020. All rights reserved.

Submissions - Essays/Links about contemporary constructive art for peer review welcomed here.


Sponsors Constructive Reductive

Thanks to: 

Art Research Center & T. Michael Stephens (advice and production)

Queensland College of Art - Griffith University

The Artists

Aaron Perkins (installation/de-installation and transport)

Kahli Budd (installation assistance)

Wayne Miller (audio visual installation)

Technical Support, Queensland College of Art

Alan Cholodenko (supporting essay/Elizabeth Day)

Ed Duquemin (audio visual support)

Karin Schomaker, Roland Emile Kuit, Gosia Koscielak, Aaron Perkins, T. Michael Stephens (advertising)

Nicola Holly (gallery administration and gallery sitting)

Produced by: JuQue


Art Research Center Also: A.R.C., Art Research Center Group/A.R.C.Group
A.R.C. Group both historically and contemporaneously always a core of A.R.C. cadre/collective of 5-30 members, associates, advisors: artists, theoreticians, designers, architects, writers, composers, musicians, performers, scientists, technicians, et'al... or combinations thereof; who were/are directed toward particular perceptual experiments and educational events, exhibitions, symposia, performance/presentation demonstrative of structural and abstract creative principles, models: exemplars; producing aesthetic objects, events for individual & public participation.
Members Late/Early. Dr Judith Duquemin (AU), John Aslanidis (AU), Alexandra Roozen (NL), Barbara Holler (AT), Gerda Krumer (NL), Paul Cremeux (US), Roland Kuit (NL), Karin Schomaker (NL), Anna-Maria Bogner (AT), Prof. Judith Cisneros (AR), Amarie Bergman (AU), Gosia Koscielak (PL), Prof. Lief Brush (US), Prof. Rebecca B. Alston (US), Jay Mandville (US), Elizabeth Willmot (US), Jay Heuser (US), Richard Kostelanetz (US), Prof/Dr Herbert W Franke & Susanne Paech (DE), Perrin Blackman & Prof Robert L. Blackman (US), Bob Scagliotti (US), T. Michael Stephens (US), Jon Brees Thogmartin (US). https://vivaarc.wixsite.com/artresearchcenter/participants.
As part of our A.R.C. 50TH + ANNIVERSARY Celebrations (2016 – 2020) consider this Exhibition Proposal which includes a series of national and international Exhibitions, Tours, Lectures, Performance, Presentations and Symposia.
The Art Research Center, Coordinated by T. Michael Stephens, is an independent not-for-profit Organization in Kansas City, Missouri/Midwest Area, USA.
T. Michael Stephens
Phone - 010-620-429-1529
Email: vivaarc@yahoo.com
Linkedin Profile: https://www.linkedin.com/in/t-michael-stephens-4b496556

COPYRIGHT (details)

Constructive Reductive Exhibition Concept. Copyright 2019 Judith Duquemin

Artist Researcher. Copyright 2020 Judith Duquemin

Images/copyright - top to bottom

judith cisneros_australia crx2020_video stills_ constructive reductive_copyright 2020

jon b. thogmartin_trial 3457 3_digital graphic_constructive reductive_copyright 2020


slide show#  1 left to right

-joseph buis_yellow1 red2 blue3_section #1_acrylic on viscose,fan,wire fixture, pegs_installation 2.5 x 6m_copyright 2020

-karin schomaker & roland e kuit_sites_ section#1_sonal visual_img_20200827_145532copyright 2020

-judith cisneros_australia crx2020_video_exhibition_constructive reductive_copyright 2020

-gosia koscielak_VU_2_section#1_digital image_copyright 2020

-jon b. thogmartin_7 hearts-1 exhibition_constructive reductive_copyright 2020


gosia koscielak_virtual unism 3_section#1_virtual reality_constructive reductive_copyright 2020 

elizabeth day_(ir)regularities #1_constructive reductive_copyright 2020


Slide Show # 2 left to right

- installation view #1_ photograph_judith duquemin_copyright 2020

- judith duquemin_code-defined construction (L) & neuropliable form (R) #1_installation view_copyright 2020

- chaley peters_V(  ) & /LMK/_ acrylic spray paint wooden panel_copyright 2018

- jon thogmartin_ exhibition installation view_constructive reductive_copyright 2020


joseph buis_site specific work in progress_constructive reductive_copyright 2020

judith duquemin_new work in lock down_ acrylic on canvas_9 x 15 in_section multiple_copyright 2020


Slide Show # 3 left to right

- liz helman_untitled I_A4 visual_digital  prints_copyright 2020

- joseph buis_untitled 2020_87943514_10220255469889588_4359395580716253184_copyright 2020

- aaron perkins_16-19 july 2020 9' that's mate?' Anticipated Arteta, paling, said Sebastian"_oil pastel and acrylic paint on polyester_137.2  137.2 cm_copyright 2020

- charley_peters_wylei_fif_acrylic on wood panel_30 x 40 cm_copyright 2019


Slide Show # 4 left to right

- Joseph Buis, Judith Duquemin, T. Michael Stephens, Jon B. Thogmartin, Karin Schomaker & Roland E. Kuit_copyright 2020_ photographs judith duquemin

Slide Show # 5 left to right

- t.michael stephens_8 part photographic set with frames_20 x 32 in_copyright 2018

- elizabeth day_irregularities 1-4_plastic mesh wire tape thread belting_copyright 2020

- judith cisneros_geometry of light_laser_copyright 2019

- aaron perkins_16-19 july 2020 9' that's mate' Anticipated Arteta, paling, said Sebastian (section)_oil pastel and acrylic paint on polyester_137.2  137.2 cm_copyright 2020

- t.michael stephens_untitled construction/model_copyright 2020