Images

HIDDEN VELVET : unbleached jute, burnt woodpulp panel. 2012
 

Nocturnal Archaeology

The hare was a popular motif in medieval church art. In anciently believed (as by Pliny, Plutarch, Philostratus and Aelian) that the hare was hermaphrodite.The idea that a hare could reproduce without loss of virginity led to an association with the Virgin Mary, with hares sometimes occurring in illuminated manuscripts and Northern European paintings of the Virgin and Christ Child. It may also have been associated with the Holy Trinity, as in the three hares motif,representing the "One in Three and Three in One" of which the triangle or three interlocking shapes such as rings are common symbols. In Britain, this motif usually appears in a prominent place in the church, such as the central rib of the chancel roof, or on a central rib of the nave. This suggests that the symbol held significance to the church, and casts doubt on the theory that they may have been masons' or carpenters' signature marks.

Rabbits and hares are both prolific breeders. Female hares can conceive a second litter of offspring while still pregnant with the first. This phenomenon is known as superfetation. Lagomorphs mature sexually at an early age and can give birth to several litters a year (hence the saying, "to breed like bunnies"). It is therefore not surprising that rabbits and hares should become fertility symbols, or that their springtime mating antics should enter into Easter folklore.

the anthropology of images.

A Scillonian Kelp Pit at Ynysdol

Baudrillard's Noble Anthropology: The Image of Symbolic Exchange in Political Economy

The Solitary Reaper -                       by Jonathan Polkest ;                      Grey Wool with Lleyn Shearling Wool on panel 210mm x 300mm
(Kelp Pit at Tolls Island Pelistry-Isles of Scilly) The Solitary Reaper is a Poem by William Wordsworth. A series of multiples marking the hard work of generations and their consciousness of the landscape.                






The Solitary Reaper

 dyed Flax,pure Lleyn Shearling Wool from Perran Wool Works, Village Crafts, Perranuthnoe Cornwall TR20 9NE 01736 711808.

The Solitary Reaper - multiples.

Pure Lleyn Shearling Wool

I would rather not go back to the Old House by Jonathan Polkest

Goonhilly Earth Station, Jute, brocade and Gesso

              Cwm Bychen - Nant Mor ; Wool, Flax Gesso Panel 

C

Cwm Bychan - nant mor; charcoal version (a3 detail)

PZ 87 Rosebud -Blue Carran D'Ache on Paper 300mm x 200mm framed 

 Gyllingvase Beach Shelter, printed cotton, gesso and black yarns.

Gyllingvase Beach Shelter on papier Carran D'Ache editione

Gyllingvase Beach Shelter, papier blue Carran D'Ache  editione

Gyllingvase Beach Hut, Red Carran D'Ache on papier editione

Peony Bull (St.Loy) Gorse Charcoal on machine paper 1220mm h x 2100mm w

(Prescillian Mirrorball) Bass  Diffusion Black Wool Yarn, Gesso Calico panel

Goonhilly Pony
Jonathan Polkest

Anna Rowing by Jonathan Polkest

Corpus Christie Fair by Jonathan Polkest

The Solitary Reaper in blue Carran D'ache on A4 cartride or Machine Finish Newsprint oak or beech framed glazed. jonathan_polkest@hotmail.com 

Aircraft Tracking in West Penwith.

Ruhender Verkehr (Stationary traffic) (Wolf Vostells Messerschmidt.

Wolf Vostell was born in Leverkusen, Germany, and put his artistic ideas into practice from 1950 onwards. In 1953, he began an apprenticeship as a lithographer and studied at the Academy of Applied Art in Wuppertal. Wolf Vostell created his first Dé-collage in 1954. In 1955/56 he studied at the École Nationale Superieur des Beaux Arts in Paris and in 1957 he attended the Düsseldorf Academy of Arts. Wolf Vostell's philosophy was built around the idea that destruction is all around us and it runs through all of the twentieth century. He used the term Dé-coll/age, (in connection with a plane crash) in 1954 to refer to the process of tearing down posters, and for the use of mobile fragments of reality. His first Happening, Theater is in the Street, took place in Paris in 1958, and incorporated auto parts and a TV.

Wolf Vostell was the first artist in art history to integrate a television set into a work of art. 

Wolf Vostell’s automobile-concrete-sculptures made from cars and concrete are to be found in Cologne Ruhender Verkehr (Stationary traffic) from 1969, in Berlin Beton Cadillacs(Concrete Cadillacs) from 1987 as well as VOAEX (Viaje de Hormigón por la Alta Extremadura) from 1976 in the Museo Vostell Malpartida at Malpartida de Cáceres, Spain and Concrete Traffic from 1970 in Chicago.

Newlyn Lugger "Mystery" which sailed from Newlyn United Kingdom to Australia. This image is formed with (golden fleece) Whipping Yarns of a gold hue stitched through the 1958 hardback edition of The Adventures of Odysseus.

PZ87 Rosebud a Cornish Lugger that took a petition and a bottle of Madron Holy Water to London in 1937.

This image is of polypropolene fishing line, through sailcloth on panel.

The St.Ives Lugger Ripple now lovingly restored by John Lambourne and docked in Newlyn Harbour.

This image is cotton flax with woolen yarns stitched right through the panel