Discussing Symmetry's Portal with Artist Margarida Sardinha of Portugal

I've been following the work of Lisbon-born artist Margardia Sardinha since I first discovered and interviewed her in late 2010. Perhaps it was our shared interest in Magical Realism that captured my attention. In our first interview I was impressed with the breadth and depth of her studies and experience. Since that time she has produced several award-winning works including HyperLightness ad absurdum and London Memory multi+city.

To best appreciate this interview and the work it discusses, I recommend beginning with yesterday's Introduction to the Alhambra.

EN: How did you first become aware of the remarkable designs in the Alhambra?

Margarida Sardinha: The Alhambra is embedded in European culture. Thus I cannot tell the first time I heard of it for it was a long time ago. But the first time I visited the site was quite recently in 2011 and I was overwhelmed by its beauty and geometrical splendour. There are only 17 modes of geometrically dividing an Euclidian bidimensional plane and these are shown in the extraordinary Islamic designs of the Alhambra.

EN: It seems evident that earnest artisans in both the Western and Islamic traditions have had spiritual aims in their work (Sistine Chapel, for example) but they have approached this in utterly different ways. Can you speak to these two different approaches, the representational and non-representational?

MS: Our Western Biblical passage “Thou shalt not make unto thee any graven image, or any likeness [of any thing] that [is] in heaven above, or that [is] in the earth beneath, or that [is] in the water under the earth:” (Exodus 20:4-6) and the Quranic words "No vision can grasp Him, but His grasp is over all vision: He is above all comprehension, yet is acquainted with all things." (The Noble Quran, 6:103), and "Remember Abraham said: 'O my Lord! make this city one of peace and security: and preserve me and my sons from worshipping idols.'" (The Noble Quran, 14:35) both forbid the figurative representation of God but for some reason later in the Bible the Solomon’s Temple is described as having cherubim and other figurative artifacts. Thus artists used this as a starting point, nevertheless this does not mean they did not use geometry. Geometry is at the heart of any religious art and the Western one is no exception as explains Charles Bouleau in his book The Painter’s Secret Geometry. In his book he explains how Western artists concealed sacred geometry underneath a veil of figurative depictions and the example of the Sistine Chapel is a good example of that; for Michelangelo even distorted the images according to perspective and gave geometrical symbolic or occult meaning to each of the sections.

EN: Is Symmetry’ Portal your response to what you encountered at the Alhambra, or something more?

MS: My work circles comparative religion so Symmetry’s Portal conveys the Islamic spiritual dimension. There is within the Islamic spiritual universe a dimension that can be called 'Abrahamic Pythagoreanism,' or the prospect of seeing numbers and figures as keys to the structure of the cosmos and as symbols of the archetypal world, and also in how the world is conceived as the God's creation in the sense of Abrahamic monotheisms. It is this possibility within the Islamic intellectual universe, with none or very little outside influences, which allowed Islam to develop a similar mathematical philosophy to the Platonic-Pythagorean tradition of antiquity but with a totally sacred characteristic. It is also this innate element of Islam’s structure that allowed the creation of a sacred art of an essentially geometric nature, and natural sciences that sought to penetrate into the very structure of physical existence, not by penetrating through the molecule and the atom, but by ascending to the world of mathematical archetypes to uncover the key structures that are reflected in the heart of matter. Islamic art is essentially a way to ennoble geometrically matter united by calligraphic forms that incorporate the word of God as revealed in the book, the Holy Qur'an.

EN: Please describe Symmetry’s Portal, the work you have created.

MS: Islamic spirituality had to develop a sacred art in accordance with its own form and revealed message and also its essence. The doctrine of unity, which is central to the Islamic revelation coinciding with a nomadic spirituality that Islam made its own, has brought to light an aniconic art where the spiritual world is not reflected in the sensible world through various iconic images, but through geometry and rhythm, arabesques and calligraphy that directly reflect the celestial worlds and finally the supernal sun of Divine Unity. Symmetry’s Portal comprises 30 works and a 3D film that deconstruct symmetry and generate illusory semblances. Thus, Symmetry 's Portal is a body of work of optical illusions where the symmetric and random are diluted in three-dimensional works originated from two-dimensional planes. Hence, symmetry’s isometrism is deconstructed or complemented by three-dimensional polyhedra where the image’s similitude evokes various illusory spatiotemporal dimensions. The inferences of such structures are also related to our dual understanding in the form of

Absolute = Random = Symbolic Continuum Relative Determinate

Where the cancelling-out of the respective mind effected differentiations results in a non-polarized symbolic continuum. This symbolic continuum is not static for it is a flux of consciousness that albeit relative to each individual it is absolute in essence – a paradox in itself that implies the self-referential framework of the individual and his/her correlation with absolute or innate forms. Thus, they refer to individual spatiotemporal events in the fabric of nature where immanence and transcendence are undifferentiated. This multidimensional interlace lies both in three-dimensional photographic works of large format as well as in the experimental film that constitute the showcase. The thirty works and the film "Symmetry's Portal" which comprise the exhibition were devised based on the geometric-mathematical descriptions of Keith Critchlow -- where the study of Islamic patterns is analysed via metaphysical and cosmological principles --, Marcus du Sautoy and Roger Penrose.

* * * *
Symmetry's Portal will be open to the public through February 15 at the
Centro Ismaili in Lisbon. Directions to the Exposição.

The Alhambra: An Introduction for North American Readers

I recently received an email regarding a new exhibition, titled Symmetry's Portal, by Lisbon-born artist Margardia Sardinha. The show was exhibited at Centro Cultural Jaime Lobo e Silva in Ericeira and opening this past week at Lisbon's Ismaili Centre, which belongs to the Aga Khan Foundation.

The press release begins with this enticing description:

Symmetry 's Portal is an exhibition organized by the artist Margarida Sardinha that has, over a lengthy period of time, been extensively focused on the concepts of symmetry and optical illusion. The exhibition expands geometrically a wide photographic survey of the Alhambra in Granada documented by the artist. This photographic assemblage is used by Margarida Sardinha to deconstruct symmetry and to generate illusory semblances. Symmetry 's Portal is a body of work of optical illusions where the symmetric and random are diluted in three-dimensional works originated from two-dimensional planes.

In order to properly write about M. Sardinha's current work I found myself challenged by my ignorance regarding the central feature of this work, the Alhambra in Granada on the southern plains of Spain. Since learning of the show last week I downloaded several books about the Alhambra to my Kindle and have been surprised yet again by another wonder of the world.

First surprise: Washington Irving, author of the Legend of Sleepy Hollow and Rip Van Winkle, wrote a book about his journey to the Alhambra in the mid-nineteenth century. Irving, who later completed a five-volume biography of George Washington, had been appointed ambassador to Spain from 1842-45. During this time he took the opportunity to travel through Don Quixote territories to this most unusual palace and fortress complex which had first been established by the Moors when they conquered Spain. Irving, being an author, wrote in great detail and an entertaining manner about the trip to the Alhambra and the marvels he encountered there.

The Alhambra began as an outpost in about the 9th century, was later rebuilt and added onto in the 11th century by the Moorish emir Mohammed ben Al-Ahmar of the Emirate of Granada, who built its current palace and walls. It was converted into a royal palace in 1333 by Yusuf I, Sultan of Granada.

But its history doesn't end there. After the Muslims were removed from Spain, Christian rulers moved in to portions of the Alhambra and added some of their own embellishments. In fact, it was here that in 1492 Christopher Columbus made his presentation to King Ferdinand and Queen Isabel of Spain to obtain funding for that crazy-wild notion of going to India by a direct route West across the Atlantic.

The structure over time fell into disrepair until a much later time it was recognized for the jewel that it was, with restorations initiated in the 19th century.

This history is not, however, the focus of Symmetry's Portal. Rather, it is the remarkable tiling patterns with which this palatial wonder has been decorated. I learned more about this feature of the Alhambra by reading John Jaworski's volume A Mathematician's Guide to the Alhambra.

For those unaware, Islam forbids representation of the human form, hence the "kaleidoscope of colorful tilings, carvings and reliefs" in Islamc architecture. According to Jaworski, the phenomenon that is featured in the Alhambra regarding these designs is that there are examples of all 17 possible tiling patterns here. The designs of the Alhambra thus become a catalog of mathematical forms.

17 is an interesting number. First, as a prime number, it is indivisible. Second, among other things, it is the only known prime that is equal to the sum of digits of its cube (17 to the third power = 4913 and 4 + 9 + 1 + 3 = 17).

To understand  what is going on in the patterns of the Alhambra it is helpful to understand tiling, symmetry and tessellation, the latter being "the tiling of a plane using one or more geometric shapes, called tiles, with no overlaps and no gaps." Many of us have a measure of familiarity with the concept through the etchings of M.C. Escher, who was himself inspired by the Alhambra.* Not all tiling patterns have symmetry, and according to those who have studied this, there can be no more than 17 distinct ways to repeat these motifs. This standard of 17 exists only in Egyptian temples and the Alhambra.

How did these artisans in Egypt and of the Alhambra discover this? How did this all come about? As this is my first introduction to these notions, I can only say that I look forward to learning more, and aim to share more insights from M. Sardinha's penetrating work, which appears to be an outgrowth of concepts that she has been developing for many years.

"Know oh brother ... the study of sensible geometry evokes skill in all practical arts, while the study of intelligible geometry evokes skill in the intellectual arts because this science is one of the portals through which we move towards the knowledge of the essence of the soul, and this is the root of all knowledge..."
~Rasa'il Brotherhood of Purity, translated by S.H. Nasr

TO BE CONTINUED

* Henri Matisse and David Hockney are additional 20th century artists who found inspiration in the designs of the Alhambra

Photo Credits
Top Right: "Ceiling in Alhambra" by Liam987 - Own work. Licensed under CC BY-SA 3.0 via Wikimedia Commons.
Lower Photo: "Vista de la Alhambra" by bernjan - Flickr. Licensed under CC BY 2.0 via Wikimedia Commons.

A Zappa Quotebook, Page One

While blog surfing I came across a collection of quotes attributed to Frank Zappa. Many are quite poignant. Others reflect his wit and somewhat amusing ways of turning a phrase.

In many ways he stood alone, dedicated to the craft of his art and inner vision. Over a three decade period he produced as many as sixty albums, with few becoming commercially successful. Not surprisingly, Zappa’s creative commitments made him uncompromising. He would not be a sell out for fame, and was reputedly an exceedingly demanding taskmaster in the studio. Sloppiness was not acceptable in an artist.

Zappa’s canvas was anything, no holds barred. Thus he stood against religion which he believed set arbitrary boundaries on where an artist could explore. He likewise opposed recreational drug use, which was permeated the music scene at the time his star was rising.

It takes little effort with Google to find more than your money can buy in terms of Zappa data. So, if you want more, you know where to go. Here’s a collection of quotes purportedly originating with da man.

"Jazz is not dead, it just smells funny."

"Stupidity is the basic building block of the universe."

"Tobacco is my favorite vegetable."

"There is no hell. There is only France."

"Without music to decorate it, time is just a bunch of boring production deadlines or dates by which bills must be paid."

"It is always advisable to be a loser if you cannot become a winner."

"A mind is like a parachute. It doesn’t work if it’s not open."

"If we can’t be free at least we can be cheap."

"Sometimes you’ve got to get sick before you can feel better."

"There will never be a nuclear war; there’s too much real estate involved."

"Why do you necessarily have to be wrong just because a few million people think you are?"

"Outdoors for me is walking from the car to the ticket desk at the airport."

"You drank beer, you played golf, you watched football -- WE EVOLVED!"

Interviewer: "So Frank, you have long hair. Does that make you a woman?"
Zappa: "You have a wooden leg. Does that make you a table?"

"Without deviation from the norm, ’progress’ is not possible."

"Hey, you know something people? I’m not black, but there’s a whole lots a times I wish I could say I’m not white."

"Most people wouldn’t know good music if it came up and bit them in the ass."

"Politics is the entertainment branch of industry."

"There is more stupidity than hydrogen in the universe, and it has a longer shelf life."

"Let’s not be too rough on our own ignorance, it’s what makes America great."

"Information is not knowledge. Knowledge is not wisdom. Wisdom is not truth. Truth is not beauty. Beauty is not love. Love is not music. Music is THE BEST."

"The creation and destruction of harmonic and ’statistical’ tensions is essential to the maintenance of compositional drama. Any composition (or improvisation) which remains consonant and ’regular’ throughout is, for me, equivalent to watching a movie with only ’good guys’ in it, or eating cottage cheese."

Fade to black.

Frank Zappa: 1940-1993


Most of the images of Zappa on this page were created over a period of two nights for the purpose of embellishing this collection of quotes which were assembled for a blog post here in 2008.

This Week at the Duluth Art Institute: The Members Show and Emerging Photographers

I was talking this week with someone from Brooklyn who follows the art scene here in the Twin Ports via this blog. He is continually impressed and went so far as to say New York has nothing on us, as far as talent, etc. Yes, they have scale, but when you begin to really unearth all that is happening, there is no dearth of talent -- or imagination -- here.

One way to get a feel for the scope of what is going on in the Twin Ports arts scene is to attend the Annual Membership Show which takes place each January at the Duluth Art Institute (DAI). The opening reception for this year's show will be Thursday, January 22 from 5:30 to 7 p.m. in the Depot Great Hall and DAI galleries (506 West Michigan St). It never fails to be a great event, an opportunity to see current works by as many as 250 artist-members of the DAI. I note the word "current" because to submit work into the show it must have been created within the past year. This is one place to get a sense of how much is happening here in the Northland. The reception, sponsored by U.S. Bank, is free and open to the public.

The night of the reception you will also be given a chance to cast your vote for a favorite work. Ballots get counted that evening and the People’s Choice award is announced at the end of the night.

Setting up a shot at Stoney Point, from Tischer Collection

In addition to the Membership Show the galleries upstairs will be featuring the Emerging Photographers show, a collaboration between the DAI and Photography department of the University of Minnesota-Duluth (UMD). The event gives photography students a professional exhibition experience. The 2015 display, curated by nationally recognized fine art photographer Ryan Tischer and sponsored by True North Color Lab, features the work of Daniel Badhwa, Kyle Becker, Donny Bever, Susannah Gaunt, Samantha Lindbeck, Marissa Murdy, and Ryan Olsen.

What I especially value here are the efforts to integrate the university arts programs, and other facets of the school, with the world outside the cloister. December's Support exhibition at the PRØVE carried out the same aims.

It'll be nice to see these two shows together. The Annual Membership Show celebrates what it means to be part of a creative community, showcasing the vibrant visual art coming out of this region today. The Emerging Photographers Show will remind us of the variety of ways photography is being taken seriously as an art form.

Meantime, art goes on all around you. Forever.

Five Minutes with Digital Artist Dan Hansen

Ascension

Escape from Meaning

I met Dan Hansen at a group show at the Prøve Gallery sometime in the past two years. His work was not only colorful, likewise his wit was colorfully exhibited. His sense of humor and insights struck me as something worth sharing with a wider audience, thus I asked for this opportunity to discuss his work.

EN: Can you tell me about your background... where you are from... went to school, etc.

Dan Hansen: I grew up in Grand Marais. I went to Cook County High School and graduated in '97. I went to UMD for a year with a graphic design major before dropping out altogether. I guess you could say I've never identified with geographical locations or even the past experiences I've had that most people tend to define themselves around. The world seemed like one continuity break after another to me. Disjunction City. I wasn't sure if everyone was in on a big secret that totally escaped me or if I was the one with the big secret that escaped them. Whatever it was...it sure seemed to give a lot of purpose and meaning to those around me. A purpose I've spent the last 17 years trying to discover for myself.

Cheyanne

EN: How did you come to take an interest in making art?

Boredgame

DH: I don't think I ever identified myself as being an artist even though I had success with it growing up and throughout high-school. My disability made it very tedious and cumbersome. So art was always a huge struggle. Through the years of getting weaker on account of my progressive neuromuscular disease I felt an increasing level of resentment toward artists who seem to do everything out of a lust for life and a love of their craft. There was a huge emphasis on aesthetics, musical culture, and nature. All of these things I felt utterly rejected by. I was the outsider looking in and feeling absolute contempt for what I saw. I found no content or context in any of the motivations that seemed to drive all artists I observed.

EN: Who have been your biggest influences?

Blocked In

DH: It was around 2005 I had my first eureka moment when I watched the film "Basquiat." Here was an example of an artist who had disregard for aesthetics. With his reckless childish style and use of words he was able to create an anti-aesthetic which was more beautiful than anything I'd seen before. The beauty came from an explosion of pure context, which was exposing all the absurdities and continuity breaks in civilization at large I previously wasn't able to reconcile.

 So this laid a framework for me. I was ecstatic! I said to myself, "Now I'm going to give the public what it deserves... the shittiest looking art in Duluth and they're going to love it!" I then pumped out maybe 35 rage inspired pieces in a couple of weeks which actually was the bulk of my first real art exhibit at Pizza Luce June of 2005 with the aide of my art assistant Lucas Anderson. There seemed to be critical acclaim for my work which was mostly done using MS Paint that came with the Windows XP operating system I used at the time. I was creating the shittiest art on the shittiest graphics program and loving every rage fueled minute of it. For the first time in my life I discovered meaning.

Rampage

Now that I'm approaching 36 years of age and processed the lion's share of anger I experienced in my 20's and early 30's I have been quite influenced by more spiritual or mystical endeavors. This is the inspiration for my new show coming up in April at Benchmark Tattoo shop. I'm creating the lost writings of Pythagoras. I'm focusing on his number theology mixed with metaphysics, and sacred geometry. It's a work of historical fiction with a mash of philosophies influenced by Pythagoras. I'm just having a lot of fun with it. The realization that I came to is that math and science were derived from mysticism. I think academics are quite embarrassed about this and tend to avoid mention of it. I find an endless amount of entertainment value in this squirmy bit of knowledge and I'm running with it!

EN: What are your interests outside of art? Reading? Movies? Texas Hold’em? NFL Football?

Pyramid Schemes

DH: As far as other interests go I do love blackjack or playing Texas Hold‘em with my friends. Gambling is a huge fascination for me. It's not about odds and statistics with me as much as it is riding the swirling wave of chance. The casino is church to me. It's a sacred place to test one’s spiritual progress and interact with the universe. Other interests I have are computer games, board games and movies. I've seen several thousand movies of every genre and every era. A dream of mine would be to become a filmmaker. I have a couple of half-baked movie scripts in the works we'll see if anything comes of it.

EN: Dan, I know I speak for many others when I say that we're looking forward to your show in April.

* * * *
Meantime art goes on all around you. Celebrate forever.

Sgt. Pepper Trivia Quiz and the Winter Dance Party

It's not only one of the greatest albums of all time, it also boasts one of the greatest album covers of all time. The original artwork on this album, both inside and out, has produced hours of entertainment for countless people over the near fifty years since it was released. Let the good times roll.

When we were home schooling, I was responsible for producing many of the quizzes our kids took, to benchmark how much of the material they had grasped. I have enjoyed making many a quiz for other purposes over the years, including a few Dylan trivia quizzes. The upcoming Winter Dance Party at the Sacred Heart seems like a good occasion for one more quiz.

1. I learned something interesting this week. Two faces on the cover of the Sgt. Pepper album were in attendance at the Winter Dance Party when Buddy Holly performed on January 31 at the Duluth Armory 56 years ago. Who were they?

2. Why was Marlon Brando in this picture?
a. Favorite actor of Ringo Starr
b. Favorite actor of Bob Dylan
c. Distant cousin of John Lennon's aunt
d. I don't know

3. Which song from this album was covered by William Shatner in 1968 and has been considered the "worst song of all time?"
a. With a Little Help from My Friends
b. Lucy in the Sky with Diamonds
c. Within You, Without You
d. A Day in the Life

4. What is the symbolism of the Beatles being on the album cover twice?
a. The band dressed in costumes represents the alter egos of the band.
b. It means whatever you want it to mean.

5. Who created the album cover?
a. John Lennon and Paul McCartney
b. Ian Welshons and Les Higby
c. Jann Hawarth and Peter Blake
d. Thames River Design Studio

6. Which of the following is not on the cover?
a. Aldous Huxley
b. Mae West
c. Leo Gorcey
d. Lewis Carroll

7. Why did John, Paul George and Ringo call themselves The Beatles?
a. It was a take-off on Buddy Holly's group The Crickets.
b. Because The Hollies was already taken.
c. Because the sky is blue.
d. It came to Paul in a dream. He shared it with John and he liked it.

8. Who was in the original version of the cover art but ultimately removed?
a. Mahatmas Gandhi
b. Jesus Christ
c. Adolph Hitler
d. All of the above

9. Which of the following was not on the album cover?
a. Lenny Bruce
b. Aleister Crowley
c. Pretty Boy Floyd
d. Carl Jung

10. What instrument is George Harrison holding?
a. A trumpet
b. A small tuba
c. A piccolo
d. A harmonica

* * * *

Well, how'd ya do? I hope you learned something you didn't know.

The 1959 Winter Dance Party Tour brought a lot of big names together. Three of those who performed here that night lost their lives a few days later in an Iowa cornfield. On January 31, the Armory Arts and Music Center will celebrate that special night in Duluth when Buddy Holly sent sparks into the night. 17-year-old Dylan was there. He was one of many whose hearts were set ablaze by Buddy Holly's energy. Did you guess who the other one was? There's a clue up in the black and yellow poster, if you didn't pick it up. He wasn't in the audience, he was on the stage.

In just over two weeks our 2015 Winter Dance Party will be held at the Sacred Heart Music Center in the Central Hillside. Tickets are only $20. With each passing year the Armory Arts and Music Center's fund raising efforts have been bringing the restoration of the Historic Armory one step closer. Purchase tickets here.


ANSWERS: 1. Bob Dylan and Dion of Dion and the Belmonts were both at the Duluth Armory that night in 1959.  2. d  3.  b (see more here about Lucy here.) 4. a  5. c  6. c  7. a  8. d  9. c  10. c

The Business of Logo Design and Commercial Illustration: An Interview with Stuart L. Crawford

Stuart Crawford is a freelance graphic designer based in Belfast, Ireland with ten years experience in logo design. We recently crossed paths on Twitter and for the purposes of this interview crossed an ocean via email.

EN: How did you come to be a logo designer?

Stuart L. Crawford: I made the decision early on in my design career that I wanted to narrow my focus and specialise in one area rather than be a jack-of-all-trades. I wanted to become a specialist, an expert in the field and initially working solely on designing logos really helped speed up the learning process. Although, today, my design services have allowed for a little breathing space into the wider areas of branding, the core service I offer is still custom logo design.

EN: What was your training and background?

SLC: I graduated in 2009 from the University of Dundee, Scotland, with a B.A. (Hons.) in illustration. I felt the freedom the illustration course allowed was slightly greater than something like Graphic Design or Visual Communications, as you were ‘expected’ to push projects towards a more ‘pure art’ basis, whilst tying final elements in with a designed form.

Before uni, I had done work experience in a Belfast design agency, and expected to try for a Design degree; but do not at all regret going down the illustration route. If anything, it means I stand out a bit more.

EN: How do you go about obtaining new business?

SLC: New business is 99% through my website. People will find me through logo galleries, Dribbble or Google, get to see my work, read the design blog to learn more about me and then get in touch.

EN: What is your process for designing a logo for a new client?

SLC: I actually have a blog post dedicated to the process of logo design. (Visit his Graphic Design Blog.)

EN: What do you read or do for stimulating ideas?

SLC: I follow a lot of other designer’s blogs, their social media streams and buy their books. My morning ritual usually involves opening up my RSS reader, skimming and opening interesting articles in new tabs for reading over coffee. Usually, when working, I listen to instrumental music, be it electronica or ambient to focus, alternatively watching documentaries in the background if I’m in an experimental mood.

EN: What other kind of work do you do besides logos?

SLC: I cover all forms of the branding, from stationery design to branded materials such as print media or promotional. Also, being an illustrator, I illustrate! (occasionally commercially).

EN: Is there anything especially unique in how you approach your work?

SLC: I really don’t think so. I’m a problem solver and the design process aims to find a solution through creativity and communication. My approach is most likely similar to other freelancers, although I hope the results are different.

EN: What are you working on now that has you jazzed?

SLC: Currently I’m rebranding a large manufacturing brand in Ireland whose image has become a little ‘dated’. Although my client base is international, it’s always enjoyable working with local businesses.

* * * *
Top right: logo design for DJ EDX