Figure 6 - uploaded by Ulf Strohmayer
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Miriam de Búrca, Anatomy of Chaos IV: Amnesia Sampled (Ink drawing), 2018. Photo taken by the artist.
Source publication
This paper engages with a key trope of landscapes as representation: their mirroring capacity. Contextualising the concept of ‘landscape’ within art history, the paper invokes several technologies that have been functional in the recognition of landscapes while themselves remaining invisible. One such technology is a 17th century technology known a...
Context in source publication
Context 1
... the case of representing the cillín however, it must be rematerialised; brought back from the projection of nothing-and no-bodiness that led to its formation in the first place (and in which form it contributed to the formation of those identities). This 'bringing back from nothingness', is thus unlike a Claude Glass transforming an imagined landscape (the artist's view) into something real (the artwork); by representing the cillín, one is reimagining the unimagined by rematerialising its immateriality ( Figure 6). ...
