6,922 research outputs found
Fergus Heron: common measure
No full textThe Front View is pleased to present the first solo show of Fergus Heron’s photography. The beauty in Fergus’s pictures are hidden in plain view. Fergus deliberately avoids the obviously spectacular, exotic or sublime, and is committed to exploring what is familiar, recognising and contemplating it differently through his photography. His central artistic concerns are ‘with making visible connections, discontinuities and tensions between landscape and architecture, nature and artifice, the traditional and the modern. This makes his work particularly poignant, as present day austerity measures unravel our profligate past he reminds us of our common inheritance, waiting for us to reacquaint ourselves with what is our quintessential nature. If the future looks like the past then Fergus is ahead of the curve. For the last decade Fergus has been slowly, steadily and meticulously developing an ongoing evolving body of work that reminds us that we do not have to travel far to witness the intense wonderment that is present in our everyday surroundings, and yet apparently absent in our perception of it. Fergus’s orientation of urban and rural England acts as a guide. From some distant shore we resurface on this island coastline and travel through the night on our sparsely lit motorways until we arrive at our common land; our home. Tom Sutherland and Julie Thorne The Front Vie
Fergus Heron: common measure
No full textThe Front View is pleased to present the first solo show of Fergus Heron’s photography. The beauty in Fergus’s pictures are hidden in plain view. Fergus deliberately avoids the obviously spectacular, exotic or sublime, and is committed to exploring what is familiar, recognising and contemplating it differently through his photography. His central artistic concerns are ‘with making visible connections, discontinuities and tensions between landscape and architecture, nature and artifice, the traditional and the modern. This makes his work particularly poignant, as present day austerity measures unravel our profligate past he reminds us of our common inheritance, waiting for us to reacquaint ourselves with what is our quintessential nature. If the future looks like the past then Fergus is ahead of the curve. For the last decade Fergus has been slowly, steadily and meticulously developing an ongoing evolving body of work that reminds us that we do not have to travel far to witness the intense wonderment that is present in our everyday surroundings, and yet apparently absent in our perception of it. Fergus’s orientation of urban and rural England acts as a guide. From some distant shore we resurface on this island coastline and travel through the night on our sparsely lit motorways until we arrive at our common land; our home. Tom Sutherland and Julie Thorne The Front Vie
Climate change and equity
No full textThe Gavin Mooney Memorial Essay Competition honours the work and memory of the late Professor Gavin Mooney, a health economist who was a tireless advocate for social justice in local, national and international arenas.
Launched in 2013, the competition seeks to draw public attention to social justice and health equity concerns, and to recognise the public-interest value of writing and writers.
The inaugural competition called for essays on the theme of climate change and equity, in recognition of the work of Professor Mooney’s late partner Dr Delys Weston. Each year the competition will call for entries related to a theme around equity and social justice.
Sydney GP Dr Tim Senior took out the inaugural 2013 prize with his essay “Climate Change and Equity: Whose Language Is It Anyway?”. The judges said the winning entry challenges the language of climate change activism, and also incorporates the voices of those who are most likely to be affected by climate change.
The four runner-up entries are by Steve Campbell and Lucie Rychetnik, Oscar McLaren, Peter Boyer and Dora Marinova, and Fergus Green
Fergus Heron: Phoenix Place
No full textFergus Heron's photography featured in the exhibition Phoenix Place depicts the immediate vicinity of the Phoenix Art Space building in Brighton. The exhibited work comprises six colour photographs made with a view camera, realised as colour prints mounted and framed. The work utilises analogue processes to emphasise photography as analogy. It builds upon Heron's earlier research picturing urban environments, including Albion Street 2017, showing and returning the view from the window of his studio in Phoenix Art Space. This project situates photography and its referent in close proximity and is partly inspired by art historian Nikolaus Pevsner's perambulation including Phoenix Place in The Buildings of England: Sussex East with Brighton and Hove. In connection a dialogue occurs between different observations of a place; Heron’s photography proposes a sense of place made of composite views, some imagined from the past, layered with others seen in the present. The exhibition, held during Photo Fringe 2024, addresses the festival theme Common Ground by inviting consideration of how the histories of a community can be seen in pictures of urban environments in which people live and work. Referencing histories of photography, art and architecture, the exhibition combines different ways of seeing place to reimagine collective and individual needs essential to ideas of the common past and present.<br/
Fergus Easton
No full textNote from back of photo: Fergus Easton, came to USA. Fergus was a messenger at battle of Gettysburg in the Civil War
Fergus Heron: Phoenix Place
No full textFergus Heron's photography featured in the exhibition Phoenix Place depicts the immediate vicinity of the Phoenix Art Space building in Brighton. The exhibited work comprises six colour photographs made with a view camera, realised as colour prints mounted and framed. The work utilises analogue processes to emphasise photography as analogy. It builds upon Heron's earlier research picturing urban environments, including Albion Street 2017, showing and returning the view from the window of his studio in Phoenix Art Space. This project situates photography and its referent in close proximity and is partly inspired by art historian Nikolaus Pevsner's perambulation including Phoenix Place in The Buildings of England: Sussex East with Brighton and Hove. In connection a dialogue occurs between different observations of a place; Heron’s photography proposes a sense of place made of composite views, some imagined from the past, layered with others seen in the present. The exhibition, held during Photo Fringe 2024, addresses the festival theme Common Ground by inviting consideration of how the histories of a community can be seen in pictures of urban environments in which people live and work. Referencing histories of photography, art and architecture, the exhibition combines different ways of seeing place to reimagine collective and individual needs essential to ideas of the common past and present.<br/
Constellations
No full textConstellations is a book that came out of two preceding projects, both curated by Fergus Feehily—Professor of painting at the Academy of the Arts, Helsinki—at Exhibition Laboratory in the winter of 2017, the exhibition of the same name and Conversations in Light and Dark, a two-day conversation series. These projects featured artists and thinkers from all over the world, Alex Olson from Los Angeles, Terry Winters, from New York, the Japanese artist Yuki Okumura, Helsinki based artist Petri Ala-Maunus and Declan Long from Dublin, to mention just a few. Both projects featured significant involvement of students from the academy, as exhibitors, writers, participants in the conversations and curatorially. The book forms a collective art work, where the visual and written word for equal parts. Constellations features texts by Declan Long, Fergus Feehily, Annie May Demozay, John Hutchinson and Kukka Paavilainen all dealing differently with ideas in and around painting, in addition here is a unique visual representation of Terry Winters' presentation for Conversations in Light and Dark. The section Correspondence, features pages given over to artists, writers and students of the academy. They were invited to respond to the idea of painting, these responses are varied, text, photographs, notebook pages, poetry and more.Finding yourself lost / Fergus Feehily -- Far from the tree -- Constellations -- I was told there would be cake -- Such seemingly different ways of making art / Inkeri Suutari -- Correspondence -- Blue / Annie May Demozay -- What painting is / Terry Winters -- I'll just keep on... 'till I get it right... / Declan Long -- Next concept of painting? / Kukka Paavilainen -- Early in the morning / John Hutchinson -- Conversations in light and dark.fi=ei tietoa saavutettavuudesta|sv=okänd tillgänglighet|en=unknown accessibility
An overlapping spheres model of cell-cell interactions
No full textCode for a Part B BSP student project in the Mathematical Institute, University of Oxford supervised by Fergus Cooper.
The main author is not yet attributed to maintain anonymity until after the project has been graded
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