leewoodman:

Meditation on Hundertwasser’s ‘ungodly’ straight line # 3
Lee Woodman 2013
My meditations on Hundertwasser’s ‘ungodly straight line’ respond to the theory of Friedensreich Hundertwasser who spoke widely on the use of the human hand in drawing and architecture. He argued that living in houses made from straight lines which conformed to units and production restraints demanded by living in the modern age was ‘ungodly’ or inorganic. The variance and inconsistency of the human hand was held as precious and to be celebrated.I agree on the beauty of the organic line, but I disagree that we are removed from the organic by the straight line. Through repetition of the straight line I have meditated on Hundertwasser’s claim. I argue that the ‘organic’ comes through in these drawings. The lines are straight, but through variance of line thickness, direction and speed of stroke the result has an organic quality. I concede one could argue the drawings are machine-like, which gives room for the argument to the contrary. This is a pleasing result as respect for Hundertwasser is not contested by my claim, just the mode of thought.

leewoodman:

Meditation on Hundertwasser’s ‘ungodly’ straight line # 3

Lee Woodman 2013

My meditations on Hundertwasser’s ‘ungodly straight line’ respond to the theory of Friedensreich Hundertwasser who spoke widely on the use of the human hand in drawing and architecture. He argued that living in houses made from straight lines which conformed to units and production restraints demanded by living in the modern age was ‘ungodly’ or inorganic. The variance and inconsistency of the human hand was held as precious and to be celebrated.

I agree on the beauty of the organic line, but I disagree that we are removed from the organic by the straight line.

Through repetition of the straight line I have meditated on Hundertwasser’s claim. I argue that the ‘organic’ comes through in these drawings. The lines are straight, but through variance of line thickness, direction and speed of stroke the result has an organic quality. I concede one could argue the drawings are machine-like, which gives room for the argument to the contrary. This is a pleasing result as respect for Hundertwasser is not contested by my claim, just the mode of thought.

leewoodman:

Rock and Paper #3, and #4, also details of shredding and collecting

Lee Woodman 2013

Rock, receipt roll

Lee Woodman, Charcoal no.97

Lee Woodman, Charcoal no.97

(Source: leecadens, via 2headedsnake)

leewoodman:

Meditation on Hundertwasser’s ‘ungodly straight line’ #1 (above), and #2

Lee Woodman 2013

855 x 610mm, Pencil on paper

leewoodman:

Charcoal no. 102
Lee Woodman 2013

leewoodman:

Charcoal no. 102

Lee Woodman 2013

leewoodman:

My part of the exhibition at the Refinery Artspace,  Nelson NZ. including AnnCT and Larisse Hall

….exhibition views. Larisse Hall, Lee Woodman and AnnCT Braunsteiner.

leewoodman:

Charcoal no. 101
Lee Woodman 2013

leewoodman:

Charcoal no. 101

Lee Woodman 2013

Charcoal no.70, Lee Woodman 2012

Charcoal no.70, Lee Woodman 2012

Charcoal no.87, Lee Woodman 2012

Charcoal no.87, Lee Woodman 2012

leewoodman:

Some pieces I have in a small exhibition for the Nelson Suter Art Society.
Graphic design by me

leewoodman:

2 min pencil no.1
Lee Woodman 2013

leewoodman:

2 min pencil no.1

Lee Woodman 2013

leewoodman:

See no, speak no.  (and detail)

Lee Woodman, Acrylic on canvas, 2013 (repainted)

1500 x 700mm

leewoodman:

Another oldie, May 2011. 2min pose

leewoodman:

Another oldie, May 2011. 2min pose

leewoodman:

Graphite no. 2
Lee Woodman 2013

leewoodman:

Graphite no. 2

Lee Woodman 2013