Author Archives: Robin

About Robin

Occasional painter. Golfer. Fascinated by humanity. Passionate about beautiful stuff, the people who create it and its narrative.

Is this beautiful?

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Accelerator 1

Talking Beautiful Stuff has written about how an object’s beauty may be derived directly from its function. “That’s a really beautiful car!” “What a fabulous knife!” In other words, one thing we take into account when considering the aesthetic appeal of a particular output of the human creative spirit is what the object in question does. Yesterday, I came across this stunning construction on display in a theme park. I just stopped and stared in fascination. I had no idea what it was but I found it intriguing, intimidating and, yes, beautiful. Could it be – and I can hardly bring myself to say the word – “art”?

So, what do you think? Is it:

  • a prop from a 1960’s sci-fi film?
  • the winner of the Steampunk Festival 2014?
  • a work by a major contemporary metallic sculptor entitled “Devoid of humanity (with head) VII”?
  • a particle accelerator from the European Centre for Nuclear Research (CERN)?

While you consider these options, take a look at the gorgeous, burnished and exquisitely crafted copper exterior. It hasn’t dulled with exposure to the wind and rain.

Accelerator 2

The answer: this is one of the original particle accelerators built at CERN in 1983. It and 127 others like it (limited edition!) were placed around the famous 27km circular tunnel under the French-Swiss border. The acceleration around the tunnel of both electrons and positrons up to the speed of light was achieved by making them “surf” on electromagnetic waves of 352 MHz. A physicist friend tells me with great enthusiasm that the cylindrical lower part of each accelerator generated the waves whilst the spherical upper part served as a heat-reducing microwave energy store. I nod politely.

Accelerator 3

Photocopyright: CERN 1983

Here it is! With all the bells and whistles all wired up and ready for work!

Isn’t this fabulous? The designers cannot have given thought to the aesthetic appeal of a particle accelerator. This must be design for function only. This is the technical stuff of pure science. This is one hound in the hunt for Higg’s Boson. This is the sort of thing commemorated by the work of Gayle Hermick. But an aesthetic appeal it definitely does have even though I – like most others – have little comprehension of its function and will never see it actually working. However, it stopped me in my tracks and when I told my physicist friend that I wanted to photograph one of the objects  in CERN’s Léon Van Hove Square, he immediately knew which one it would be.

Accelerator 4

Another object on display in the Square and only 30 metres from the accelerator is an electrical staircase that multiplies the voltage of a transformer. Invented in 1932 in Cambridge (UK), this was used to generate the required 500,000 volts for particle acceleration. It’s looks really whacky and has the sci-fi look but, somehow, it just isn’t …. well…. beautiful.

Does my lifetime exposure to wondrous contemporary sculptures, old sci-fi films, steampunk and the world of Heath Robinson ultimately influence whether I perceive an object such as the particle accelerator as beautiful? Am I influenced because the object is part of the glamour of this cutting edge of science? Why is it easily imaginable that this really is a work by a major contemporary sculptor? If it was put up for sale and CERN asked the price of $1million, does this make it “art”?

More Igor Mitoraj and… Love is the answer!

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Igor Mitoraj 4

I wrote about Igor Mitoraj‘s “Sleeping Head” two weeks ago. Last Friday was an unexpectedly cold and rainy day here in Geneva and I took a walk back down rue de la Corraterie to see if the promise of more of Mitoraj’s beautiful stuff would be fulfilled by the exquisite Galerie Bel Air Fine Arts. This time, the lights were on…..

Igor Mitoraj 5

In the gallery window, I found another reason for sculptor’s global reputation: a magnificent two-faced bronze in his fractured classical bronze style. The two cheeks of this extraordinary piece rest in delicate, peaceful and affectionate contact. And…. Albert Einstein demonstrates in the background stating “LOVE IS THE ANSWER.” Can’t disagree! What a great little corner of Geneva this is!

The Ecstasy and the Agony of Paulo Tercio

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Paulo Tercio 1Paulo Tercio contacted Talking Beautiful Stuff to tell us of his admiration of Ana Maria Pacheco. Like her, he trained at London’s Slade (albeit a couple of decades later.) Like her, he creates beautiful stuff that hunts around themes of spirituality, suffering and torment. The first line of his website reads “Paulo Tercio was born into a devout catholic family. His foetus was gestated inside a jackfruit. When his soul entered his body he experienced his first ecstasy…..”

 

And here it is! Paulo’s painting that depicts what he describes as the single most important moment in his life.

Paulo Tercio 2

Paulo Tercio “The Ecstasy of Paulo Tercio” 2012 Oil on linen, 60cm x 45cm

The image is innocent, earthy, nourishing, fecund and more than a little intriguing. Why the seedy head? Why the eye in the foetal belly?

Paulo Tercio 3

Paulo Tercio “Virgin and Child of St Andrews Fulham” 2013 Oil on linen, 75cm x 60cm

In 2013, Paulo won a commission for a permanent alter piece at St. Andrew’s Church, Fulham. This fabulous work shows the virgin sporting an exquisite orchid and the child whose halo has yet to reach its full iridescence; he casts a sideways, quizzical glance at his mother as if he already knew what life held in store for him. The scene seems to be watched over by two larger and darker forces.

Fascinated by what I find on-line, Paulo and I strike up an email exchange. Why does he works on religious themes? He replies “I believe that, in all major faiths, religious art functions by creating emblems of hope. It has the responsibility to help society in these troubled times.” What inspires him? “My inspiration comes mostly from within. I believe artists should undergo training only to develop their technical skills.” I ask about influences unaware of where this would take me. He begins “Many people have influenced my life including philosophers, spiritual leaders, artists, designers and musicians. Concerning my artworks, I believe spirits of other artists play a huge role in shaping them.” More of his story unfurls. The lines between painting and persona blur.

Paulo Tercio 4

Paulo Tercio “Collapse of the Ego” 2013 Oil on linen 75cm x 60cm

Paulo says that some of his artworks are transformations of his own suffering. “Collapse of the Ego” is intensely dark, desparate, mysterious and screams in agony. Just read this! “I had a major breakdown a few years ago and I thought life was at an end for me. From working as a manager of a prestigious hotel in London, I ended up in the streets. I was completely broken. I fitted nowhere. Death was my destiny. I gave most of my material possessions, including my own bed, to the homeless. During this time I painted ‘Collapse of the Ego.’ Looking back, I experienced a simultaneous spiritual, physical and mental death. This realisation became apparent a few weeks ago when starting a new painting to be called ‘Metamorphosis & Resurrection.’ I am still living the metamorphic stage: a human being in transformation. My resurrection will be the next stage in my life when as a transformed being I will be able to live life as a newborn.”

Paulo Tercio 5

Paulo Tercio “Plethora of Emotions II” 2014 Oil on gessoed linen 75cm x 60cm

“Plethora of Emotions II” is a beautifully executed but harrowing painting in which mental suffering yells. It has been selected for the “Dreams” exhibition to take place at the Institute of Mental Health in Nottingham (curated by City Arts in partnership with University of Nottingham.) This exhibition will explore the interaction between creativity and mental health. Paulo believes the spirit is intrinsically connected with the mind and that one’s well-being depends on both. He sees his participation in this exhibition as contributing to society more widely. He tells me that with this painting he is attempting to purge the mix of anger, revenge, despair, corruption, guilt and fragmentation that he feels growing inside him. I dig a little deeper and ask him about the source of these feelings. Ready for his reply? “My upbringing ruined my emotional structure. I grew up in a family poisoned by domestic violence. Parenting was abusive and alcoholic. I experienced loneliness, homophobic bullying, persecution, sex abuse, homelessness, and poverty. I felt desolate. Self-loathing and isolation were my main sources of escape as any attempts at artistic expression were met with contempt. ‘Plethora of Emotions II’ portrays a human being overpowered by collective emotions. Despite all this my religious roots, if anything, made me a more compassionate and humble person.”

So, Paulo, thank you for letting us see into your creative universe. And thank you for telling us about your ecstasy and for sharing your agony. I am sure all the readers of Talking Beautiful Stuff wish you well.

Talking Beautiful Stuff thanks Paulo for his permission to publish extracts from his email exchange with Robin. Portrait photo of Paulo Tercio ©  BvB Universe