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https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53265cb3e4b09aa77d05c153/5326650ae4b0790f5a8b205b/1395025183713/Brooke_principle1_b.jpg Work https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53265cb3e4b09aa77d05c153/5326650ce4b0c0f6fcfe5ef5/1395025198975/Brooke_principle2_b.jpg Work https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edf45e4b00720a47a95b8/1395558689405/Brooke_Opp1.jpg Work - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edfe1e4b0b3bd29254524/1395558712394/Brooke_Opp12.jpg Work - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edf9de4b0b3bd292544e3/1395558717382/Brooke_Opp7.jpg Work - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edfa4e4b00720a47a95ed/1395558721341/Brooke_Opp8.jpg Work - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edf89e4b00720a47a95dc/1395558725586/Brooke_Opp6.jpg Work - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edfbbe4b0b3bd292544fc/1395558729357/Brooke_Opp9.jpg Work - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edf2ee4b0b3bd2925446f/1395558684284/Brooke_Opp2.jpg Work - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edf4ae4b0b3bd2925448c/1395558694683/Brooke_Opp3.jpg Work - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edf71e4b0b3bd292544c3/1395558703123/Brooke_Opp5.jpg Work - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edfdae4b00720a47a9618/1395558736305/Brooke_Opp10.jpg Work - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edf64e4b00720a47a95cd/1395558698751/Brooke_Opp4.jpg Work - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edfd2e4b0b3bd29254514/1395558706948/Brooke_Opp11.jpg Work - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee76ce4b04c1bc67d56f7/1395544277223/Brooke_OSdetail4.jpg Work - Julie Brooke, Open and shut (2007), detail https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee756e4b025f6584ae404/1395544184674/Brooke_OSdetail1.jpg Work - Julie Brooke, Open and shut (2007), detail https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee73fe4b025f6584ae3f5/1395544136692/Brooke_RLdetail5.jpg Work - Julie Brooke, From right to left (2007), detail https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee728e4b04c1bc67d56b9/1395544068932/Brooke_RLdetail2.jpg Work - Julie Brooke, From right to left (2007), detail https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee738e4b025f6584ae3e7/1396347368124/Brooke_RL_all.jpg Work - Julie Brooke, From right to left (2007) I started making these works as a way of exploring the relationship between photography and painting. I saw the bowl of the spoon as analogous to the interior retinal surface of the eye, which receives the image of whatever it is we're looking at, and making paintings of the convex eye on this concave surface presented an interesting challenge. These works also reference the idea of the optogram, the image that forms on the retina of the eye. In the late Victorian era, it was believed by some that the eye could retain this image after death, a false belief that led to the idea that a retinal image, if developed like a photographic film, could provide evidence in murder trials. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee720e4b04c1bc67d56ac/1396347376946/Brooke_RLdetail1.jpg Work - Julie Brooke, From right to left (2007), detail I started making these works as a way of exploring the relationship between photography and painting. I saw the bowl of the spoon as analogous to the interior retinal surface of the eye, which receives the image of whatever it is we're looking at, and making paintings of the convex eye on this concave surface presented an interesting challenge. These works also reference the idea of the optogram, the image that forms on the retina of the eye. In the late Victorian era, it was believed by some that the eye could retain this image after death, a false belief that led to the idea that a retinal image, if developed like a photographic film, could provide evidence in murder trials. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee763e4b04c1bc67d56ea/1396347384626/Brooke_OS_all.jpg Work - Julie Brooke, Open and shut (2007) I started making these works as a way of exploring the relationship between photography and painting. I saw the bowl of the spoon as analogous to the interior retinal surface of the eye, which receives the image of whatever it is we're looking at, and making paintings of the convex eye on this concave surface presented an interesting challenge. These works also reference the idea of the optogram, the image that forms on the retina of the eye. In the late Victorian era, it was believed by some that the eye could retain this image after death, a false belief that led to the idea that a retinal image, if developed like a photographic film, could provide evidence in murder trials. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee73ce4b04c1bc67d56cd/1396347393212/Brooke_RLdetail4.jpg Work - Julie Brooke, From right to left (2007), detail I started making these works as a way of exploring the relationship between photography and painting. I saw the bowl of the spoon as analogous to the interior retinal surface of the eye, which receives the image of whatever it is we're looking at, and making paintings of the convex eye on this concave surface presented an interesting challenge. These works also reference the idea of the optogram, the image that forms on the retina of the eye. In the late Victorian era, it was believed by some that the eye could retain this image after death, a false belief that led to the idea that a retinal image, if developed like a photographic film, could provide evidence in murder trials. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee75fe4b025f6584ae419/1396347401785/Brooke_OSdetail2.jpg Work - Julie Brooke, Open and shut (2007), detail I started making these works as a way of exploring the relationship between photography and painting. I saw the bowl of the spoon as analogous to the interior retinal surface of the eye, which receives the image of whatever it is we're looking at, and making paintings of the convex eye on this concave surface presented an interesting challenge. These works also reference the idea of the optogram, the image that forms on the retina of the eye. In the late Victorian era, it was believed by some that the eye could retain this image after death, a false belief that led to the idea that a retinal image, if developed like a photographic film, could provide evidence in murder trials. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee770e4b025f6584ae436/1396347419158/Brooke_OSdetail5.jpg Work - Julie Brooke, Open and shut (2007), detail I started making these works as a way of exploring the relationship between photography and painting. I saw the bowl of the spoon as analogous to the interior retinal surface of the eye, which receives the image of whatever it is we're looking at, and making paintings of the convex eye on this concave surface presented an interesting challenge. These works also reference the idea of the optogram, the image that forms on the retina of the eye. In the late Victorian era, it was believed by some that the eye could retain this image after death, a false belief that led to the idea that a retinal image, if developed like a photographic film, could provide evidence in murder trials. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee7a9e4b0b3bd29254c3c/1396347433273/Brooke_KK_all.jpg Work - Julie Brooke, Apple of my eye (2007) I started making these works as a way of exploring the relationship between photography and painting. I saw the bowl of the spoon as analogous to the interior retinal surface of the eye, which receives the image of whatever it is we're looking at, and making paintings of the convex eye on this concave surface presented an interesting challenge. These works also reference the idea of the optogram, the image that forms on the retina of the eye. In the late Victorian era, it was believed by some that the eye could retain this image after death, a false belief that led to the idea that a retinal image, if developed like a photographic film, could provide evidence in murder trials. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/532647f4e4b004ce87b7ad18/1396347440112/Brooke_KK_detail.jpg Work I started making these works as a way of exploring the relationship between photography and painting. I saw the bowl of the spoon as analogous to the interior retinal surface of the eye, which receives the image of whatever it is we're looking at, and making paintings of the convex eye on this concave surface presented an interesting challenge. These works also reference the idea of the optogram, the image that forms on the retina of the eye. In the late Victorian era, it was believed by some that the eye could retain this image after death, a false belief that led to the idea that a retinal image, if developed like a photographic film, could provide evidence in murder trials. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee767e4b025f6584ae42e/1396347449659/Brooke_OSdetail3.jpg Work - Julie Brooke, Open and shut (2007), detail I started making these works as a way of exploring the relationship between photography and painting. I saw the bowl of the spoon as analogous to the interior retinal surface of the eye, which receives the image of whatever it is we're looking at, and making paintings of the convex eye on this concave surface presented an interesting challenge. These works also reference the idea of the optogram, the image that forms on the retina of the eye. In the late Victorian era, it was believed by some that the eye could retain this image after death, a false belief that led to the idea that a retinal image, if developed like a photographic film, could provide evidence in murder trials. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee733e4b04c1bc67d56c5/1396347461779/Brooke_RLdetail3.jpg Work - Julie Brooke, From right to left (2007), detail I started making these works as a way of exploring the relationship between photography and painting. I saw the bowl of the spoon as analogous to the interior retinal surface of the eye, which receives the image of whatever it is we're looking at, and making paintings of the convex eye on this concave surface presented an interesting challenge. These works also reference the idea of the optogram, the image that forms on the retina of the eye. In the late Victorian era, it was believed by some that the eye could retain this image after death, a false belief that led to the idea that a retinal image, if developed like a photographic film, could provide evidence in murder trials. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c43f9e4b0c39be0caf3df/531ed553e4b089910ebc9ff2/1396346164156/Brooke_Crys_all.jpg Work - Julie Brooke, Crystalline (2013) This is a series of gouache paintings on black paper in which I explored some of the possible forms that the circular grid could take. These works were exhibited in my PhD exhibition, Thinking Spaces, at the ANU School of Art Gallery in 2013. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c43f9e4b0c39be0caf3df/531ed545e4b0b17f97454ac2/1396346175520/Brooke_Crys1.jpg Work - Julie Brooke, Crystalline (2013) This is a series of gouache paintings on black paper in which I explored some of the possible forms that the circular grid could take. These works were exhibited in my PhD exhibition, Thinking Spaces, at the ANU School of Art Gallery in 2013. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c43f9e4b0c39be0caf3df/531ed554e4b0b17f97454ad3/1396346185985/Brooke_Crys2.jpg Work - Julie Brooke, Crystalline (2013) This is a series of gouache paintings on black paper in which I explored some of the possible forms that the circular grid could take. These works were exhibited in my PhD exhibition, Thinking Spaces, at the ANU School of Art Gallery in 2013. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c43f9e4b0c39be0caf3df/531ed564e4b089910ebca001/1396346196880/Brooke_Crys3.jpg Work - Julie Brooke, Crystalline (2013) This is a series of gouache paintings on black paper in which I explored some of the possible forms that the circular grid could take. These works were exhibited in my PhD exhibition, Thinking Spaces, at the ANU School of Art Gallery in 2013. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c43f9e4b0c39be0caf3df/531ed573e4b0b17f97454aed/1396346206387/Brooke_Crys4.jpg Work - Julie Brooke, Crystalline (2013) This is a series of gouache paintings on black paper in which I explored some of the possible forms that the circular grid could take. These works were exhibited in my PhD exhibition, Thinking Spaces, at the ANU School of Art Gallery in 2013. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c43f9e4b0c39be0caf3df/531ed572e4b089910ebca00e/1396346221629/Brooke_Crys5.jpg Work - Julie Brooke, Crystalline (2013) This is a series of gouache paintings on black paper in which I explored some of the possible forms that the circular grid could take. These works were exhibited in my PhD exhibition, Thinking Spaces, at the ANU School of Art Gallery in 2013. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c43f9e4b0c39be0caf3df/531ed740e4b0a6495db7c00c/1396346226135/Brooke_Crys6.jpg Work - Julie Brooke, Crystalline (2013) This is a series of gouache paintings on black paper in which I explored some of the possible forms that the circular grid could take. These works were exhibited in my PhD exhibition, Thinking Spaces, at the ANU School of Art Gallery in 2013. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c43f9e4b0c39be0caf3df/531ed740e4b0fd769deda388/1396346235918/Brooke_Crys7.jpg Work - Julie Brooke, Crystalline (2013) This is a series of gouache paintings on black paper in which I explored some of the possible forms that the circular grid could take. These works were exhibited in my PhD exhibition, Thinking Spaces, at the ANU School of Art Gallery in 2013. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c43f9e4b0c39be0caf3df/531ed755e4b0a6495db7c021/1396346245078/Brooke_Crys8.jpg Work - Julie Brooke, Crystalline (2013) This is a series of gouache paintings on black paper in which I explored some of the possible forms that the circular grid could take. These works were exhibited in my PhD exhibition, Thinking Spaces, at the ANU School of Art Gallery in 2013. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c43f9e4b0c39be0caf3df/531ed757e4b0fd769deda396/1396346257189/Brooke_Crys9.jpg Work - Julie Brooke, Crystalline (2013) This is a series of gouache paintings on black paper in which I explored some of the possible forms that the circular grid could take. These works were exhibited in my PhD exhibition, Thinking Spaces, at the ANU School of Art Gallery in 2013. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed46ce4b05d85bc5649ed/1396345861057/Brooke_Calculate9.jpg Work - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed458e4b0b1520ba56bb5/1396345821054/Brooke_Calculate6.jpg Work - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed463e4b05d85bc5649e2/1396345845587/Brooke_Calculate7.jpg Work - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed433e4b05d85bc5649ab/1396345802341/Brooke_Calculate2.jpg Work - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed449e4b0b1520ba56ba2/1396345811473/Brooke_Calculate3.jpg Work - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed452e4b05d85bc5649cd/1396345779162/Brooke_Calculate5.jpg Work - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed444e4b05d85bc5649b2/1396345791143/Brooke_Calculate4.jpg Work - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed433e4b05616ec3b0063/1396345754595/Brooke_Calculate1.jpg Work - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5320fcb1e4b0fd524adcb733/532643e3e4b05db45c4b7693/1395016679145/Brooke_Connect9.jpg Work https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5320fcb1e4b0fd524adcb733/5326443ae4b09aa77d05a5ab/1395016767611/Brooke_Connect16.jpg Work https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5320fcb1e4b0fd524adcb733/53264354e4b051c9f1ec6c5e/1395016535114/Brooke_Connect12.jpg Work https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5320fcb1e4b0fd524adcb733/5326436ee4b05db45c4b762e/1395016562297/Brooke_Connect5.jpg Work https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5320fcb1e4b0fd524adcb733/532642f1e4b09aa77d05a422/1395016436065/Brooke_Connect_all.jpg Work 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mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316dfdde4b0fa5080a6c43f/531edc99e4b018be29dd30c9/1396346611424/Brooke_Strange18.jpg Strange objects - Julie Brooke, Strange object 18 This is an extended series of gouache paintings in which I used a circular grid based on Richard Buckminster Fuller's architectural drawings of geodesic domes, and on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316dfdde4b0fa5080a6c43f/531edca9e4b063fa3e99acfc/1396346618114/Brooke_Strange19.jpg Strange objects - Julie Brooke, Strange object 19 This is an extended series of gouache paintings in which I used a circular grid based on Richard Buckminster Fuller's architectural drawings of geodesic domes, and on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316dfdde4b0fa5080a6c43f/531edcc7e4b018be29dd30f7/1396346624359/Brooke_Strange25.jpg Strange objects - Julie Brooke, Strange objects (2011-12) This is an extended series of gouache paintings in which I used a circular grid based on Richard Buckminster Fuller's architectural drawings of geodesic domes, and on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316dfdde4b0fa5080a6c43f/531edcbae4b063fa3e99ad13/1396346630921/Brooke_Strange26.jpg Strange objects - Julie Brooke, Strange objects (2011-12) This is an extended series of gouache paintings in which I used a circular grid based on Richard Buckminster Fuller's architectural drawings of geodesic domes, and on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316dfdde4b0fa5080a6c43f/531edcc9e4b063fa3e99ad2b/1396346637158/Brooke_Strange27.jpg Strange objects - Julie Brooke, Strange objects (2011-12) This is an extended series of gouache paintings in which I used a circular grid based on Richard Buckminster Fuller's architectural drawings of geodesic domes, and on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316dfdde4b0fa5080a6c43f/531edcd5e4b018be29dd3101/1396346642690/Brooke_Strange27a.jpg Strange objects - Julie Brooke, Strange objects (2011-12) This is an extended series of gouache paintings in which I used a circular grid based on Richard Buckminster Fuller's architectural drawings of geodesic domes, and on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316dfdde4b0fa5080a6c43f/531edeade4b0345bebde636b/1396346647913/Brooke_Strange28.jpg Strange objects - Julie Brooke, Strange objects (2011-12) This is an extended series of gouache paintings in which I used a circular grid based on Richard Buckminster Fuller's architectural drawings of geodesic domes, and on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316dfdde4b0fa5080a6c43f/531edce2e4b018be29dd310e/1396346654058/Brooke_Strange32.jpg Strange objects - Julie Brooke, Strange objects (2011-12) This is an extended series of gouache paintings in which I used a circular grid based on Richard Buckminster Fuller's architectural drawings of geodesic domes, and on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316dfdde4b0fa5080a6c43f/531edcf7e4b018be29dd3122/1396346662712/Brooke_Strange39.jpg Strange objects - Julie Brooke, Strange objects (2011-12) This is an extended series of gouache paintings in which I used a circular grid based on Richard Buckminster Fuller's architectural drawings of geodesic domes, and on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316dfdde4b0fa5080a6c43f/531edd08e4b018be29dd3135/1396346669828/Brooke_Strange40.jpg Strange objects - Julie Brooke, Strange objects (2011-12) This is an extended series of gouache paintings in which I used a circular grid based on Richard Buckminster Fuller's architectural drawings of geodesic domes, and on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316dfdde4b0fa5080a6c43f/531edd16e4b018be29dd3142/1396346675970/Brooke_Strange41.jpg Strange objects This is an extended series of gouache paintings in which I used a circular grid based on Richard Buckminster Fuller's architectural drawings of geodesic domes, and on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316dfdde4b0fa5080a6c43f/531edd21e4b018be29dd315b/1396346683034/Brooke_Strange42.jpg Strange objects This is an extended series of gouache paintings in which I used a circular grid based on Richard Buckminster Fuller's architectural drawings of geodesic domes, and on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316dfdde4b0fa5080a6c43f/531edc8ee4b018be29dd30ba/1396346688880/Brooke_Strange_3b.jpg Strange objects - Julie Brooke, Strange objects (2011-12) This is an extended series of gouache paintings in which I used a circular grid based on Richard Buckminster Fuller's architectural drawings of geodesic domes, and on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316dfdde4b0fa5080a6c43f/531edc8fe4b063fa3e99acef/1396346694609/Brooke_Strange_3a.jpg Strange objects - Julie Brooke, Strange objects (2011-12) This is an extended series of gouache paintings in which I used a circular grid based on Richard Buckminster Fuller's architectural drawings of geodesic domes, and on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles https://www.juliebrooke.net/foraminifera daily 0.75 2014-04-01 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/531c0c16e4b0045325883678/1394347082684/tnFC8.jpg Foraminifera https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c0b64e4b00453258835ab/531edb12e4b0467fe7e9fcaf/1396346312275/Brooke_Foram_all.jpg Foraminifera - Julie Brooke, Foraminifera (2013) This is a series of pencil drawings on paper that I made while writing up my PhD thesis. They started off as a welcome relief from the hours I spent writing every day, and were made on offcuts of paper I found on my desk. The ideas I explored here developed into other series of works, such as The Principle of continuity, Lines of thought, and Let us calculate. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c0b64e4b00453258835ab/5327aae7e4b028bc910e70e6/1396346323781/Brooke_Foram1_b.jpg Foraminifera - Julie Brooke, Foraminifera (2013) This is a series of pencil drawings on paper that I made while writing up my PhD thesis. They started off as a welcome relief from the hours I spent writing every day, and were made on offcuts of paper I found on my desk. The ideas I explored here developed into other series of works, such as The Principle of continuity, Lines of thought, and Let us calculate. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c0b64e4b00453258835ab/5327aae8e4b0c5c3326c69b9/1396346339404/Brooke_Foram2_b.jpg Foraminifera - Julie Brooke, Foraminifera (2013) This is a series of pencil drawings on paper that I made while writing up my PhD thesis. They started off as a welcome relief from the hours I spent writing every day, and were made on offcuts of paper I found on my desk. The ideas I explored here developed into other series of works, such as The Principle of continuity, Lines of thought, and Let us calculate. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c0b64e4b00453258835ab/5327aaede4b028bc910e70ee/1396346351684/Brooke_Foram3_b.jpg Foraminifera - Julie Brooke, Foraminifera (2013) This is a series of pencil drawings on paper that I made while writing up my PhD thesis. They started off as a welcome relief from the hours I spent writing every day, and were made on offcuts of paper I found on my desk. The ideas I explored here developed into other series of works, such as The Principle of continuity, Lines of thought, and Let us calculate. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c0b64e4b00453258835ab/5327aaeee4b0c5c3326c69c6/1396346362376/Brooke_Foram4_b.jpg Foraminifera - Julie Brooke, Foraminifera (2013) This is a series of pencil drawings on paper that I made while writing up my PhD thesis. They started off as a welcome relief from the hours I spent writing every day, and were made on offcuts of paper I found on my desk. The ideas I explored here developed into other series of works, such as The Principle of continuity, Lines of thought, and Let us calculate. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c0b64e4b00453258835ab/5327aaf3e4b028bc910e70fa/1396346374523/Brooke_Foram5_b.jpg Foraminifera - Julie Brooke, Foraminifera (2013) This is a series of pencil drawings on paper that I made while writing up my PhD thesis. They started off as a welcome relief from the hours I spent writing every day, and were made on offcuts of paper I found on my desk. The ideas I explored here developed into other series of works, such as The Principle of continuity, Lines of thought, and Let us calculate. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c0b64e4b00453258835ab/5327aaf6e4b0c5c3326c69d0/1396346386040/Brooke_Foram6_b.jpg Foraminifera - Julie Brooke, Foraminifera (2013) This is a series of pencil drawings on paper that I made while writing up my PhD thesis. They started off as a welcome relief from the hours I spent writing every day, and were made on offcuts of paper I found on my desk. The ideas I explored here developed into other series of works, such as The Principle of continuity, Lines of thought, and Let us calculate. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c0b64e4b00453258835ab/5327aafbe4b028bc910e7106/1396346404320/Brooke_Foram7_b.jpg Foraminifera - Julie Brooke, Foraminifera (2013) This is a series of pencil drawings on paper that I made while writing up my PhD thesis. They started off as a welcome relief from the hours I spent writing every day, and were made on offcuts of paper I found on my desk. The ideas I explored here developed into other series of works, such as The Principle of continuity, Lines of thought, and Let us calculate. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c0b64e4b00453258835ab/5327aafbe4b0c5c3326c69d8/1396346413791/Brooke_Foram8_b.jpg Foraminifera - Julie Brooke, Foraminifera (2013) This is a series of pencil drawings on paper that I made while writing up my PhD thesis. They started off as a welcome relief from the hours I spent writing every day, and were made on offcuts of paper I found on my desk. The ideas I explored here developed into other series of works, such as The Principle of continuity, Lines of thought, and Let us calculate. https://www.juliebrooke.net/etching daily 0.75 2014-03-23 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/531d90d7e4b030d9a208c64b/1394446631103/RabbitP.jpg Etching https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531d6074e4b0b3bd2922af4f/531ee8f8e4b069e27c308b82/1395558840127/Brooke_Rabbit.jpg Etching - Julie Brooke, Rabbit (2006) https://www.juliebrooke.net/i-can-connect-nothing daily 0.75 2014-03-24 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/532fe707e4b05724b5068f27/1395647917443/Brooke_Connect_all.jpg I can connect nothing with nothing - Julie Brooke, I can connect nothing with nothing (2012-13) This is a set of six small (24 x 17 cm) gouache works on red paper. I've used a tessellating system of triangles to create a 'figure' on the surface that appears to swell out of and recede back into the ground. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5317c529e4b035ad0335b144/531eb89ae4b018be29dd142a/1395647917443/Brooke_Connect_all.jpg I can connect nothing with nothing - Julie Brooke, I can connect nothing with nothing (2012-13) This is a set of six small (24 x 17 cm) gouache works on red paper. I've used a tessellating system of triangles to create a 'figure' on the surface that appears to swell out of and recede back into the ground. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5317c529e4b035ad0335b144/531eb8abe4b069e27c3063f0/1395648005508/Brooke_Connect1.jpg I can connect nothing with nothing - Julie Brooke, I can connect nothing with nothing (2012-13) In this small (24 x 17 cm) gouache work on paper, I have used a 'cellular' system of pyramidal tilings to create an image that (I hope) appears to billow out from the red ground. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5317c529e4b035ad0335b144/531eb8abe4b018be29dd1437/1395648105038/Brooke_Connect2.jpg I can connect nothing with nothing - Julie Brooke, I can connect nothing with nothing (2012-13) With these paintings, I begin with small, regular tessellations of black triangles, painted in gouache. As I allow the triangles to increase in size, I also make them lighter in colour and more transparent, to create the illusion that they are growing out from the red paper surface. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5317c529e4b035ad0335b144/531eb8b6e4b018be29dd143f/1395556874217/Brooke_Connect3.jpg I can connect nothing with nothing - Julie Brooke, I can connect nothing with nothing (2012-13) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5317c529e4b035ad0335b144/531eb8c2e4b069e27c306401/1395556878874/Brooke_Connect4.jpg I can connect nothing with nothing - Julie Brooke, I can connect nothing with nothing (2012-13) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5317c529e4b035ad0335b144/531eb8c5e4b018be29dd1449/1395556883260/Brooke_Connect5.jpg I can connect nothing with nothing - Julie Brooke, I can connect nothing with nothing (2012-13) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5317c529e4b035ad0335b144/531eb8cee4b069e27c306405/1395556888435/Brooke_Connect6.jpg I can connect nothing with nothing - Julie Brooke, I can connect nothing with nothing (2012-13) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5317c529e4b035ad0335b144/531eb8d7e4b069e27c306413/1395556892890/Brooke_Connect8.jpg I can connect nothing with nothing - Julie Brooke, I can connect nothing with nothing (2012-13) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5317c529e4b035ad0335b144/531eb8d6e4b018be29dd145f/1395556898215/Brooke_Connect7.jpg I can connect nothing with nothing - Julie Brooke, I can connect nothing with nothing (2012-13) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5317c529e4b035ad0335b144/531eb8e1e4b0ddc80cd263d9/1395556903849/Brooke_Connect9.jpg I can connect nothing with nothing - Julie Brooke, I can connect nothing with nothing (2012-13) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5317c529e4b035ad0335b144/531eb8e1e4b069e27c306419/1395556908426/Brooke_Connect10.jpg I can connect nothing with nothing - Julie Brooke, I can connect nothing with nothing (2012-13) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5317c529e4b035ad0335b144/531eb8f1e4b018be29dd1471/1395648194768/Brooke_Connect11.jpg I can connect nothing with nothing - Julie Brooke, I can connect nothing with nothing (2012-13) I created this crystalline form by starting with the small, dark, regular tessellation of triangles at the base of the form, and allowing it to 'grow' out and then shrink back to form the topmost point. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5317c529e4b035ad0335b144/531eb8f9e4b069e27c30642b/1395648263461/Brooke_Connect12.jpg I can connect nothing with nothing - Julie Brooke, I can connect nothing with nothing (2012-13) In this small (24 x 17 cm) gouache painting on red paper, I have used a system of tessellating pyramidal units to create a form that is both non-objective, and also reminiscent of crystals and rock formations. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5317c529e4b035ad0335b144/531eb8f7e4b018be29dd1474/1395556921491/Brooke_Connect13.jpg I can connect nothing with nothing - Julie Brooke, I can connect nothing with nothing (2012-13) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5317c529e4b035ad0335b144/531eb916e4b05d85bc56339c/1395556925603/Brooke_Connect14.jpg I can connect nothing with nothing - Julie Brooke, I can connect nothing with nothing (2012-13) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5317c529e4b035ad0335b144/531eb900e4b018be29dd147f/1395556931280/Brooke_Connect15.jpg I can connect nothing with nothing - Julie Brooke, I can connect nothing with nothing (2012-13) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5317c529e4b035ad0335b144/531eb908e4b018be29dd1489/1395556936258/Brooke_Connect16.jpg I can connect nothing with nothing - Julie Brooke, I can connect nothing with nothing (2012-13) https://www.juliebrooke.net/let-us-calculate daily 0.75 2014-04-01 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed433e4b05616ec3b0063/1396345754595/Brooke_Calculate1.jpg Let us calculate - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/533a8c05e4b056c906849db9/1396345754595/Brooke_Calculate1.jpg Let us calculate - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed452e4b05d85bc5649cd/1396345779162/Brooke_Calculate5.jpg Let us calculate - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed444e4b05d85bc5649b2/1396345791143/Brooke_Calculate4.jpg Let us calculate - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed433e4b05d85bc5649ab/1396345802341/Brooke_Calculate2.jpg Let us calculate - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed449e4b0b1520ba56ba2/1396345811473/Brooke_Calculate3.jpg Let us calculate - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed458e4b0b1520ba56bb5/1396345821054/Brooke_Calculate6.jpg Let us calculate - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed463e4b05d85bc5649e2/1396345845587/Brooke_Calculate7.jpg Let us calculate - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed46ce4b05d85bc5649ed/1396345861057/Brooke_Calculate9.jpg Let us calculate - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://www.juliebrooke.net/seeds daily 0.75 2014-04-01 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/531d44eee4b0baf9a0e99560/1394427119403/SeedDetail.jpg Seeds https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531b0506e4b026b4af0973a8/531ed8e3e4b00453258c9cd9/1396345972661/Brooke_Seeds1.jpg Seeds - Julie Brooke, Seeds (2013) This is a series of gouache works on black paper that developed from my interest in Ernst Haeckel's Radiolarians, a set of extraordinarily beautiful and detailed images of microscopic biological forms. I made this series in 2013, while writing up my PhD. I'd been looking at the extraordinary biological drawings of Ernst Haeckel, and had noted how the geometric systems I work with were increasingly resembling microscopic life forms. I called this series Seeds because in making them, I generated a series of different forms that developed into new bodies of work. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531b0506e4b026b4af0973a8/531ed901e4b00453258c9d1e/1396345984078/Brooke_Seeds2.jpg Seeds - Julie Brooke, Seeds (2013) This is a series of gouache works on black paper that developed from my interest in Ernst Haeckel's Radiolarians, a set of extraordinarily beautiful and detailed images of microscopic biological forms. I made this series in 2013, while writing up my PhD. I'd been looking at the extraordinary biological drawings of Ernst Haeckel, and had noted how the geometric systems I work with were increasingly resembling microscopic life forms. I called this series Seeds because in making them, I generated a series of different forms that developed into new bodies of work. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531b0506e4b026b4af0973a8/531ed885e4b00453258c9c8a/1396345993245/Brooke_Seeds4.jpg Seeds - Julie Brooke, Seeds (2013) This is a series of gouache works on black paper that developed from my interest in Ernst Haeckel's Radiolarians, a set of extraordinarily beautiful and detailed images of microscopic biological forms. I made this series in 2013, while writing up my PhD. I'd been looking at the extraordinary biological drawings of Ernst Haeckel, and had noted how the geometric systems I work with were increasingly resembling microscopic life forms. I called this series Seeds because in making them, I generated a series of different forms that developed into new bodies of work. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531b0506e4b026b4af0973a8/531ed89ae4b00453258c9c98/1396346001698/Brooke_Seeds5.jpg Seeds - Julie Brooke, Seeds (2013) This is a series of gouache works on black paper that developed from my interest in Ernst Haeckel's Radiolarians, a set of extraordinarily beautiful and detailed images of microscopic biological forms. I made this series in 2013, while writing up my PhD. I'd been looking at the extraordinary biological drawings of Ernst Haeckel, and had noted how the geometric systems I work with were increasingly resembling microscopic life forms. I called this series Seeds because in making them, I generated a series of different forms that developed into new bodies of work. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531b0506e4b026b4af0973a8/531ed8c2e4b00720a47a9002/1396346009517/Brooke_Seeds8.jpg Seeds - Julie Brooke, Seeds (2013) This is a series of gouache works on black paper that developed from my interest in Ernst Haeckel's Radiolarians, a set of extraordinarily beautiful and detailed images of microscopic biological forms. I made this series in 2013, while writing up my PhD. I'd been looking at the extraordinary biological drawings of Ernst Haeckel, and had noted how the geometric systems I work with were increasingly resembling microscopic life forms. I called this series Seeds because in making them, I generated a series of different forms that developed into new bodies of work. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531b0506e4b026b4af0973a8/531ed889e4b00720a47a8fcd/1396346017441/Brooke_Seeds3.jpg Seeds - Julie Brooke, Seeds (2013) This is a series of gouache works on black paper that developed from my interest in Ernst Haeckel's Radiolarians, a set of extraordinarily beautiful and detailed images of microscopic biological forms. I made this series in 2013, while writing up my PhD. I'd been looking at the extraordinary biological drawings of Ernst Haeckel, and had noted how the geometric systems I work with were increasingly resembling microscopic life forms. I called this series Seeds because in making them, I generated a series of different forms that developed into new bodies of work. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531b0506e4b026b4af0973a8/531ed8ace4b00720a47a8ff9/1396346025693/Brooke_Seeds6.jpg Seeds - Julie Brooke, Seeds (2013) This is a series of gouache works on black paper that developed from my interest in Ernst Haeckel's Radiolarians, a set of extraordinarily beautiful and detailed images of microscopic biological forms. I made this series in 2013, while writing up my PhD. I'd been looking at the extraordinary biological drawings of Ernst Haeckel, and had noted how the geometric systems I work with were increasingly resembling microscopic life forms. I called this series Seeds because in making them, I generated a series of different forms that developed into new bodies of work. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531b0506e4b026b4af0973a8/531ed8b9e4b00453258c9cad/1396346032512/Brooke_Seeds7.jpg Seeds - Julie Brooke, Seeds (2013) This is a series of gouache works on black paper that developed from my interest in Ernst Haeckel's Radiolarians, a set of extraordinarily beautiful and detailed images of microscopic biological forms. I made this series in 2013, while writing up my PhD. I'd been looking at the extraordinary biological drawings of Ernst Haeckel, and had noted how the geometric systems I work with were increasingly resembling microscopic life forms. I called this series Seeds because in making them, I generated a series of different forms that developed into new bodies of work. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531b0506e4b026b4af0973a8/531ed8cee4b00453258c9cc9/1396346044494/Brooke_sqSeeds1.jpg Seeds - Julie Brooke, Seeds (2013) This is a series of gouache works on black paper that developed from my interest in Ernst Haeckel's Radiolarians, a set of extraordinarily beautiful and detailed images of microscopic biological forms. I made this series in 2013, while writing up my PhD. I'd been looking at the extraordinary biological drawings of Ernst Haeckel, and had noted how the geometric systems I work with were increasingly resembling microscopic life forms. I called this series Seeds because in making them, I generated a series of different forms that developed into new bodies of work. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531b0506e4b026b4af0973a8/531ed8dee4b0b3bd29253e2c/1396346057167/Brooke_sqSeeds2.jpg Seeds - Julie Brooke, Seeds (2013) This is a series of gouache works on black paper that developed from my interest in Ernst Haeckel's Radiolarians, a set of extraordinarily beautiful and detailed images of microscopic biological forms. I made this series in 2013, while writing up my PhD. I'd been looking at the extraordinary biological drawings of Ernst Haeckel, and had noted how the geometric systems I work with were increasingly resembling microscopic life forms. I called this series Seeds because in making them, I generated a series of different forms that developed into new bodies of work. https://www.juliebrooke.net/spoons daily 0.75 2014-04-01 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/531aae80e4b0baf9a0e60bf9/1394257537486/Eye5.jpg Spoons https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee738e4b025f6584ae3e7/1396347368124/Brooke_RL_all.jpg Spoons - Julie Brooke, From right to left (2007) I started making these works as a way of exploring the relationship between photography and painting. I saw the bowl of the spoon as analogous to the interior retinal surface of the eye, which receives the image of whatever it is we're looking at, and making paintings of the convex eye on this concave surface presented an interesting challenge. These works also reference the idea of the optogram, the image that forms on the retina of the eye. In the late Victorian era, it was believed by some that the eye could retain this image after death, a false belief that led to the idea that a retinal image, if developed like a photographic film, could provide evidence in murder trials. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee720e4b04c1bc67d56ac/1396347376946/Brooke_RLdetail1.jpg Spoons - Julie Brooke, From right to left (2007), detail I started making these works as a way of exploring the relationship between photography and painting. I saw the bowl of the spoon as analogous to the interior retinal surface of the eye, which receives the image of whatever it is we're looking at, and making paintings of the convex eye on this concave surface presented an interesting challenge. These works also reference the idea of the optogram, the image that forms on the retina of the eye. In the late Victorian era, it was believed by some that the eye could retain this image after death, a false belief that led to the idea that a retinal image, if developed like a photographic film, could provide evidence in murder trials. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee728e4b04c1bc67d56b9/1395544068932/Brooke_RLdetail2.jpg Spoons - Julie Brooke, From right to left (2007), detail https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee733e4b04c1bc67d56c5/1396347461779/Brooke_RLdetail3.jpg Spoons - Julie Brooke, From right to left (2007), detail I started making these works as a way of exploring the relationship between photography and painting. I saw the bowl of the spoon as analogous to the interior retinal surface of the eye, which receives the image of whatever it is we're looking at, and making paintings of the convex eye on this concave surface presented an interesting challenge. These works also reference the idea of the optogram, the image that forms on the retina of the eye. In the late Victorian era, it was believed by some that the eye could retain this image after death, a false belief that led to the idea that a retinal image, if developed like a photographic film, could provide evidence in murder trials. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee73ce4b04c1bc67d56cd/1396347393212/Brooke_RLdetail4.jpg Spoons - Julie Brooke, From right to left (2007), detail I started making these works as a way of exploring the relationship between photography and painting. I saw the bowl of the spoon as analogous to the interior retinal surface of the eye, which receives the image of whatever it is we're looking at, and making paintings of the convex eye on this concave surface presented an interesting challenge. These works also reference the idea of the optogram, the image that forms on the retina of the eye. In the late Victorian era, it was believed by some that the eye could retain this image after death, a false belief that led to the idea that a retinal image, if developed like a photographic film, could provide evidence in murder trials. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee73fe4b025f6584ae3f5/1395544136692/Brooke_RLdetail5.jpg Spoons - Julie Brooke, From right to left (2007), detail https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee763e4b04c1bc67d56ea/1396347384626/Brooke_OS_all.jpg Spoons - Julie Brooke, Open and shut (2007) I started making these works as a way of exploring the relationship between photography and painting. I saw the bowl of the spoon as analogous to the interior retinal surface of the eye, which receives the image of whatever it is we're looking at, and making paintings of the convex eye on this concave surface presented an interesting challenge. These works also reference the idea of the optogram, the image that forms on the retina of the eye. In the late Victorian era, it was believed by some that the eye could retain this image after death, a false belief that led to the idea that a retinal image, if developed like a photographic film, could provide evidence in murder trials. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee756e4b025f6584ae404/1395544184674/Brooke_OSdetail1.jpg Spoons - Julie Brooke, Open and shut (2007), detail https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee75fe4b025f6584ae419/1396347401785/Brooke_OSdetail2.jpg Spoons - Julie Brooke, Open and shut (2007), detail I started making these works as a way of exploring the relationship between photography and painting. I saw the bowl of the spoon as analogous to the interior retinal surface of the eye, which receives the image of whatever it is we're looking at, and making paintings of the convex eye on this concave surface presented an interesting challenge. These works also reference the idea of the optogram, the image that forms on the retina of the eye. In the late Victorian era, it was believed by some that the eye could retain this image after death, a false belief that led to the idea that a retinal image, if developed like a photographic film, could provide evidence in murder trials. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee767e4b025f6584ae42e/1396347449659/Brooke_OSdetail3.jpg Spoons - Julie Brooke, Open and shut (2007), detail I started making these works as a way of exploring the relationship between photography and painting. I saw the bowl of the spoon as analogous to the interior retinal surface of the eye, which receives the image of whatever it is we're looking at, and making paintings of the convex eye on this concave surface presented an interesting challenge. These works also reference the idea of the optogram, the image that forms on the retina of the eye. In the late Victorian era, it was believed by some that the eye could retain this image after death, a false belief that led to the idea that a retinal image, if developed like a photographic film, could provide evidence in murder trials. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee76ce4b04c1bc67d56f7/1395544277223/Brooke_OSdetail4.jpg Spoons - Julie Brooke, Open and shut (2007), detail https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee770e4b025f6584ae436/1396347419158/Brooke_OSdetail5.jpg Spoons - Julie Brooke, Open and shut (2007), detail I started making these works as a way of exploring the relationship between photography and painting. I saw the bowl of the spoon as analogous to the interior retinal surface of the eye, which receives the image of whatever it is we're looking at, and making paintings of the convex eye on this concave surface presented an interesting challenge. These works also reference the idea of the optogram, the image that forms on the retina of the eye. In the late Victorian era, it was believed by some that the eye could retain this image after death, a false belief that led to the idea that a retinal image, if developed like a photographic film, could provide evidence in murder trials. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/531ee7a9e4b0b3bd29254c3c/1396347433273/Brooke_KK_all.jpg Spoons - Julie Brooke, Apple of my eye (2007) I started making these works as a way of exploring the relationship between photography and painting. I saw the bowl of the spoon as analogous to the interior retinal surface of the eye, which receives the image of whatever it is we're looking at, and making paintings of the convex eye on this concave surface presented an interesting challenge. These works also reference the idea of the optogram, the image that forms on the retina of the eye. In the late Victorian era, it was believed by some that the eye could retain this image after death, a false belief that led to the idea that a retinal image, if developed like a photographic film, could provide evidence in murder trials. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316a9aae4b08f2413cbe5cc/532647f4e4b004ce87b7ad18/1396347440112/Brooke_KK_detail.jpg Spoons I started making these works as a way of exploring the relationship between photography and painting. I saw the bowl of the spoon as analogous to the interior retinal surface of the eye, which receives the image of whatever it is we're looking at, and making paintings of the convex eye on this concave surface presented an interesting challenge. These works also reference the idea of the optogram, the image that forms on the retina of the eye. In the late Victorian era, it was believed by some that the eye could retain this image after death, a false belief that led to the idea that a retinal image, if developed like a photographic film, could provide evidence in murder trials. https://www.juliebrooke.net/wall-drawings daily 0.75 2014-03-24 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/531d4666e4b00720a477ef7a/1394427495725/Walldetail4.jpg Wall drawings https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c1135e4b0b2e4038950bd/531ecbf1e4b0fd769ded9927/1395648668606/Brooke_principle1.jpg Wall drawings - Julie Brooke, The principle of continuity, 2013 This is a photograph of a set of wall drawings that I installed in the ANU School of Art Gallery as part of my PhD exhibition in 2013. The title, The Principle of Continuity, refers to Gottfried Leibniz's statement that "nature never makes leaps... all natural change is produced by degrees." I have used this reference, because in my practice I develop geometric forms that evolve from image to image, and which are also based on mathematical principles. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c1135e4b0b2e4038950bd/531ecbeee4b02c4ce2646c62/1395557068714/Brooke_principle2.jpg Wall drawings - Julie Brooke, The principle of continuity, 2013 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c1135e4b0b2e4038950bd/531ecc05e4b02c4ce2646c76/1395557099182/Brooke_principle3.jpg Wall drawings - Julie Brooke, The principle of continuity, 2013 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c1135e4b0b2e4038950bd/531ecc12e4b0fd769ded9945/1395648347266/Brooke_principle4.jpg Wall drawings - Julie Brooke, The principle of continuity, 2013 To make these works, I first painted the white circular grid on black paper, then mounted it on the wall, and extended the grid out onto the wall using black pencil. Despite the complete change in tone (from black to white), the net-like grid 'reads' as a coherent whole. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c1135e4b0b2e4038950bd/531ecc10e4b02c4ce2646c7d/1395557127594/Brooke_principle5.jpg Wall drawings - Julie Brooke, The principle of continuity, 2013 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c1135e4b0b2e4038950bd/531ecc24e4b02c4ce2646c85/1395557140832/Brooke_principle6.jpg Wall drawings - Julie Brooke, The principle of continuity, 2013 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c1135e4b0b2e4038950bd/531ecc25e4b0fd769ded9958/1395557149981/Brooke_principle7.jpg Wall drawings - Julie Brooke, The principle of continuity, 2013 https://www.juliebrooke.net/concrete daily 0.75 2014-04-01 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/531eacfce4b02c4ce264533e/1394519292499/tnBrooke_Concrete.jpg Conc/rete https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c47a2e4b0ddc80cce3c9c/5327a7bfe4b01248455cd592/1395651141159/Brooke_Concrete_room.jpg Conc/rete - Julie Brooke, Conc/rete (2013) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c47a2e4b0ddc80cce3c9c/5327a9ace4b0fc82b94cab0d/1395651148396/Brooke_Concrete2+copy.jpg Conc/rete - Julie Brooke, Conc/rete (2013) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c47a2e4b0ddc80cce3c9c/531ecac6e4b026b4af0f4e18/1395651155779/Brooke_Concrete3.jpg Conc/rete - Julie Brooke, Conc/rete body (2013) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c47a2e4b0ddc80cce3c9c/531ecb52e4b00453258c9259/1395557235896/Brooke_Orange1.jpg Conc/rete - Julie Brooke, Conc/rete (orange 1, 2012) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c47a2e4b0ddc80cce3c9c/531ecb4ae4b026b4af0f4e56/1395651167689/Brooke_Orange2.jpg Conc/rete - Julie Brooke, Conc/rete (orange 2, 2012) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c47a2e4b0ddc80cce3c9c/531ecb5ae4b026b4af0f4e6d/1395651175154/Brooke_Orange3.jpg Conc/rete - Julie Brooke, Conc/rete (orange 3, 2012) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c47a2e4b0ddc80cce3c9c/531ecac3e4b04c1bc67d3f4e/1395542359283/Brooke_Orange.jpg Conc/rete https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c47a2e4b0ddc80cce3c9c/531ecbb2e4b05616ec3afa6f/1396345655027/Brooke_Pizan.jpg Conc/rete - Julie Brooke, Conc/rete (City of Ladies, 2013) The sub-structure of the ground provides an organising principle that guides the growth of the grey form – I found that I tended to align the grey gouache planes with the edges of the squares and triangles, to accommodate the uneven, raised edges of the collaged card. When painting, the dyes in the card – particularly the warmer hues – were activated by water and dissolved into the gouache. This creates colour variations in the grey planes. https://www.juliebrooke.net/lines-of-thought daily 0.75 2014-03-23 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/532e843ae4b046525fe647b6/1395557407917/Brooke_ENP1.jpg Lines of thought - Julie Brooke, Lines of thought (2013) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531bf8f0e4b02c4ce25ff492/531ee613e4b063fa3e99b5df/1395557407917/Brooke_ENP1.jpg Lines of thought - Julie Brooke, Lines of thought (2013) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531bf8f0e4b02c4ce25ff492/531ee62fe4b063fa3e99b600/1395557412419/Brooke_ENP3.jpg Lines of thought - Julie Brooke, Lines of thought (2013) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531bf8f0e4b02c4ce25ff492/531ee614e4b063fa3e99b5e6/1395557416771/Brooke_ENP2.jpg Lines of thought - Julie Brooke, Lines of thought (2013) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531bf8f0e4b02c4ce25ff492/531ee629e4b063fa3e99b5fa/1395557421076/Brooke_ENP4.jpg Lines of thought - Julie Brooke, Lines of thought (2013) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531bf8f0e4b02c4ce25ff492/531ee640e4b063fa3e99b618/1395557425204/Brooke_ENP6.jpg Lines of thought - Julie Brooke, Lines of thought (2013) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531bf8f0e4b02c4ce25ff492/531ee654e4b063fa3e99b626/1395557429541/Brooke_ENP7.jpg Lines of thought - Julie Brooke, Lines of thought (2013) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531bf8f0e4b02c4ce25ff492/531ee65ee4b063fa3e99b62c/1395557434075/Brooke_ENP8.jpg Lines of thought - Julie Brooke, Lines of thought (2013) https://www.juliebrooke.net/crystalline daily 0.75 2014-04-01 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/531c4576e4b03e512acb1d55/1394361721241/bC2.jpg Crystalline https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c43f9e4b0c39be0caf3df/531ed553e4b089910ebc9ff2/1396346164156/Brooke_Crys_all.jpg Crystalline - Julie Brooke, Crystalline (2013) This is a series of gouache paintings on black paper in which I explored some of the possible forms that the circular grid could take. These works were exhibited in my PhD exhibition, Thinking Spaces, at the ANU School of Art Gallery in 2013. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c43f9e4b0c39be0caf3df/531ed545e4b0b17f97454ac2/1396346175520/Brooke_Crys1.jpg Crystalline - Julie Brooke, Crystalline (2013) This is a series of gouache paintings on black paper in which I explored some of the possible forms that the circular grid could take. These works were exhibited in my PhD exhibition, Thinking Spaces, at the ANU School of Art Gallery in 2013. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c43f9e4b0c39be0caf3df/531ed554e4b0b17f97454ad3/1396346185985/Brooke_Crys2.jpg Crystalline - Julie Brooke, Crystalline (2013) This is a series of gouache paintings on black paper in which I explored some of the possible forms that the circular grid could take. These works were exhibited in my PhD exhibition, Thinking Spaces, at the ANU School of Art Gallery in 2013. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c43f9e4b0c39be0caf3df/531ed564e4b089910ebca001/1396346196880/Brooke_Crys3.jpg Crystalline - Julie Brooke, Crystalline (2013) This is a series of gouache paintings on black paper in which I explored some of the possible forms that the circular grid could take. These works were exhibited in my PhD exhibition, Thinking Spaces, at the ANU School of Art Gallery in 2013. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c43f9e4b0c39be0caf3df/531ed573e4b0b17f97454aed/1396346206387/Brooke_Crys4.jpg Crystalline - Julie Brooke, Crystalline (2013) This is a series of gouache paintings on black paper in which I explored some of the possible forms that the circular grid could take. These works were exhibited in my PhD exhibition, Thinking Spaces, at the ANU School of Art Gallery in 2013. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c43f9e4b0c39be0caf3df/531ed572e4b089910ebca00e/1396346221629/Brooke_Crys5.jpg Crystalline - Julie Brooke, Crystalline (2013) This is a series of gouache paintings on black paper in which I explored some of the possible forms that the circular grid could take. These works were exhibited in my PhD exhibition, Thinking Spaces, at the ANU School of Art Gallery in 2013. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c43f9e4b0c39be0caf3df/531ed740e4b0a6495db7c00c/1396346226135/Brooke_Crys6.jpg Crystalline - Julie Brooke, Crystalline (2013) This is a series of gouache paintings on black paper in which I explored some of the possible forms that the circular grid could take. These works were exhibited in my PhD exhibition, Thinking Spaces, at the ANU School of Art Gallery in 2013. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c43f9e4b0c39be0caf3df/531ed740e4b0fd769deda388/1396346235918/Brooke_Crys7.jpg Crystalline - Julie Brooke, Crystalline (2013) This is a series of gouache paintings on black paper in which I explored some of the possible forms that the circular grid could take. These works were exhibited in my PhD exhibition, Thinking Spaces, at the ANU School of Art Gallery in 2013. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c43f9e4b0c39be0caf3df/531ed755e4b0a6495db7c021/1396346245078/Brooke_Crys8.jpg Crystalline - Julie Brooke, Crystalline (2013) This is a series of gouache paintings on black paper in which I explored some of the possible forms that the circular grid could take. These works were exhibited in my PhD exhibition, Thinking Spaces, at the ANU School of Art Gallery in 2013. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531c43f9e4b0c39be0caf3df/531ed757e4b0fd769deda396/1396346257189/Brooke_Crys9.jpg Crystalline - Julie Brooke, Crystalline (2013) This is a series of gouache paintings on black paper in which I explored some of the possible forms that the circular grid could take. These works were exhibited in my PhD exhibition, Thinking Spaces, at the ANU School of Art Gallery in 2013. https://www.juliebrooke.net/volvelles daily 0.75 2014-04-01 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/531ac9e1e4b063fa3e93acb3/1394343386135/tnWonky1.jpg Volvelles https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531aaff1e4b0baf9a0e60da5/531ee07de4b026b4af0f6059/1396346752965/Brooke_gVolvelle2.jpg Volvelles - Julie Brooke, Volvelles (2010) A volvelle is a paper 'machine' made of concentric circular discs that can be turned independently of one another. Early volvelles were used to calculate the positions of planets in the night sky. The medieval mystic Ramon Llull developed the idea further, using volvelles as a means of creating new combinations of words that (for him) could encode universal knowledge. I was intrigued by this idea and in response, developed a series of illusionistic paintings of abstract asymmetrical circular forms. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531aaff1e4b0baf9a0e60da5/531ee080e4b0baf9a0ec4c24/1396346772540/Brooke_gVolvelle1.jpg Volvelles - Julie Brooke, Volvelles (2010)   A volvelle is a paper 'machine' made of concentric circular discs that can be turned independently of one another. Early volvelles were used to calculate the positions of planets in the night sky. The medieval mystic Ramon Llull developed the idea further, using volvelles as a means of creating new combinations of words that (for him) could encode universal knowledge. I was intrigued by this idea and in response, developed a series of illusionistic paintings of abstract asymmetrical circular forms. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531aaff1e4b0baf9a0e60da5/531ee09ce4b026b4af0f6072/1396346781141/Brooke_gVolvelle3.jpg Volvelles - Julie Brooke, Volvelles (2010)   A volvelle is a paper 'machine' made of concentric circular discs that can be turned independently of one another. Early volvelles were used to calculate the positions of planets in the night sky. The medieval mystic Ramon Llull developed the idea further, using volvelles as a means of creating new combinations of words that (for him) could encode universal knowledge. I was intrigued by this idea and in response, developed a series of illusionistic paintings of abstract asymmetrical circular forms. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531aaff1e4b0baf9a0e60da5/531ee09fe4b0baf9a0ec4c3a/1396346788114/Brooke_gVolvelle4.jpg Volvelles - Julie Brooke, Volvelles (2010)   A volvelle is a paper 'machine' made of concentric circular discs that can be turned independently of one another. Early volvelles were used to calculate the positions of planets in the night sky. The medieval mystic Ramon Llull developed the idea further, using volvelles as a means of creating new combinations of words that (for him) could encode universal knowledge. I was intrigued by this idea and in response, developed a series of illusionistic paintings of abstract asymmetrical circular forms. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531aaff1e4b0baf9a0e60da5/531ee0afe4b026b4af0f6079/1396346795272/Brooke_iVolvelle1.jpg Volvelles - Julie Brooke, Volvelles (2010)   A volvelle is a paper 'machine' made of concentric circular discs that can be turned independently of one another. Early volvelles were used to calculate the positions of planets in the night sky. The medieval mystic Ramon Llull developed the idea further, using volvelles as a means of creating new combinations of words that (for him) could encode universal knowledge. I was intrigued by this idea and in response, developed a series of illusionistic paintings of abstract asymmetrical circular forms. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531aaff1e4b0baf9a0e60da5/531ee0bfe4b0baf9a0ec4c59/1396346801928/Brooke_iVolvelle2.jpg Volvelles - Julie Brooke, Volvelles (2010)   A volvelle is a paper 'machine' made of concentric circular discs that can be turned independently of one another. Early volvelles were used to calculate the positions of planets in the night sky. The medieval mystic Ramon Llull developed the idea further, using volvelles as a means of creating new combinations of words that (for him) could encode universal knowledge. I was intrigued by this idea and in response, developed a series of illusionistic paintings of abstract asymmetrical circular forms. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531aaff1e4b0baf9a0e60da5/531ee0d4e4b026b4af0f6096/1396346808849/Brooke_iVolvelle3.jpg Volvelles - Julie Brooke, Volvelles (2010)   A volvelle is a paper 'machine' made of concentric circular discs that can be turned independently of one another. Early volvelles were used to calculate the positions of planets in the night sky. The medieval mystic Ramon Llull developed the idea further, using volvelles as a means of creating new combinations of words that (for him) could encode universal knowledge. I was intrigued by this idea and in response, developed a series of illusionistic paintings of abstract asymmetrical circular forms. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531aaff1e4b0baf9a0e60da5/531ee0dee4b0baf9a0ec4c6d/1396346813739/Brooke_iVolvelle4.jpg Volvelles - Julie Brooke, Volvelles (2010)   A volvelle is a paper 'machine' made of concentric circular discs that can be turned independently of one another. Early volvelles were used to calculate the positions of planets in the night sky. The medieval mystic Ramon Llull developed the idea further, using volvelles as a means of creating new combinations of words that (for him) could encode universal knowledge. I was intrigued by this idea and in response, developed a series of illusionistic paintings of abstract asymmetrical circular forms. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531aaff1e4b0baf9a0e60da5/531ee0eee4b026b4af0f60b6/1396346819470/Brooke_iVolvelle5.jpg Volvelles - Julie Brooke, Volvelles (2010)   A volvelle is a paper 'machine' made of concentric circular discs that can be turned independently of one another. Early volvelles were used to calculate the positions of planets in the night sky. The medieval mystic Ramon Llull developed the idea further, using volvelles as a means of creating new combinations of words that (for him) could encode universal knowledge. I was intrigued by this idea and in response, developed a series of illusionistic paintings of abstract asymmetrical circular forms. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531aaff1e4b0baf9a0e60da5/531ee0efe4b0baf9a0ec4c84/1396346828348/Brooke_iVolvelle6.jpg Volvelles - Julie Brooke, Volvelles (2010)   A volvelle is a paper 'machine' made of concentric circular discs that can be turned independently of one another. Early volvelles were used to calculate the positions of planets in the night sky. The medieval mystic Ramon Llull developed the idea further, using volvelles as a means of creating new combinations of words that (for him) could encode universal knowledge. I was intrigued by this idea and in response, developed a series of illusionistic paintings of abstract asymmetrical circular forms. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531aaff1e4b0baf9a0e60da5/531ee0f9e4b026b4af0f60bf/1396346836689/Brooke_iVolvelle7.jpg Volvelles - Julie Brooke, Volvelles (2010)   A volvelle is a paper 'machine' made of concentric circular discs that can be turned independently of one another. Early volvelles were used to calculate the positions of planets in the night sky. The medieval mystic Ramon Llull developed the idea further, using volvelles as a means of creating new combinations of words that (for him) could encode universal knowledge. I was intrigued by this idea and in response, developed a series of illusionistic paintings of abstract asymmetrical circular forms. https://www.juliebrooke.net/oppositions daily 0.75 2014-03-23 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/531eba04e4b069e27c306501/1394522629611/tnBrookeOpp.jpg Oppositions https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edf2ee4b0b3bd2925446f/1395558684284/Brooke_Opp2.jpg Oppositions - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edf4ae4b0b3bd2925448c/1395558694683/Brooke_Opp3.jpg Oppositions - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edf45e4b00720a47a95b8/1395558689405/Brooke_Opp1.jpg Oppositions - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edf64e4b00720a47a95cd/1395558698751/Brooke_Opp4.jpg Oppositions - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edf71e4b0b3bd292544c3/1395558703123/Brooke_Opp5.jpg Oppositions - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edfd2e4b0b3bd29254514/1395558706948/Brooke_Opp11.jpg Oppositions - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edfe1e4b0b3bd29254524/1395558712394/Brooke_Opp12.jpg Oppositions - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edf9de4b0b3bd292544e3/1395558717382/Brooke_Opp7.jpg Oppositions - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edfa4e4b00720a47a95ed/1395558721341/Brooke_Opp8.jpg Oppositions - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edf89e4b00720a47a95dc/1395558725586/Brooke_Opp6.jpg Oppositions - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edfbbe4b0b3bd292544fc/1395558729357/Brooke_Opp9.jpg Oppositions - Julie Brooke, Oppositions (2011) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53170061e4b0880198579b1c/531edfdae4b00720a47a9618/1395558736305/Brooke_Opp10.jpg Oppositions - Julie Brooke, Oppositions (2011) https://www.juliebrooke.net/birds daily 0.75 2014-04-01 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/53197a54e4b02dddf759570c/1394178645950/SquareAPiercingGlance9.jpg Birds https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53197665e4b0bbbf4e7c6080/531ee3bde4b0baf9a0ec4eb6/1396347009693/Brooke_Piercing1.jpg Birds - Julie Brooke, A piercing glance (2008) I made these surreal postcard-sized oil paintings of birds in response to Jacques Lacan's concept of 'the gaze,' in which a coupe de l'oeil (a glance, in French, which literally translates to 'a blow from the eye') can be seen as an act of aggression. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53197665e4b0bbbf4e7c6080/531ee3cee4b089910ebcab94/1396347018177/Brooke_Piercing2.jpg Birds - Julie Brooke, A piercing glance (2008)   I made these surreal postcard-sized oil paintings of birds in response to Jacques Lacan's concept of 'the gaze,' in which a coupe de l'oeil (a glance, in French, which literally translates to 'a blow from the eye') can be seen as an act of aggression. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53197665e4b0bbbf4e7c6080/531ee3d2e4b0baf9a0ec4ecd/1396347035860/Brooke_Piercing3.jpg Birds - Julie Brooke, A piercing glance (2008)   I made these surreal postcard-sized oil paintings of birds in response to Jacques Lacan's concept of 'the gaze,' in which a coupe de l'oeil (a glance, in French, which literally translates to 'a blow from the eye') can be seen as an act of aggression. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53197665e4b0bbbf4e7c6080/531ee3e6e4b089910ebcaba2/1396347045199/Brooke_Piercing4.jpg Birds - Julie Brooke, A piercing glance (2008)   I made these surreal postcard-sized oil paintings of birds in response to Jacques Lacan's concept of 'the gaze,' in which a coupe de l'oeil (a glance, in French, which literally translates to 'a blow from the eye') can be seen as an act of aggression. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53197665e4b0bbbf4e7c6080/531ee3e8e4b0baf9a0ec4ee4/1396347055593/Brooke_Piercing5.jpg Birds - Julie Brooke, A piercing glance (2008)   I made these surreal postcard-sized oil paintings of birds in response to Jacques Lacan's concept of 'the gaze,' in which a coupe de l'oeil (a glance, in French, which literally translates to 'a blow from the eye') can be seen as an act of aggression. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53197665e4b0bbbf4e7c6080/531ee3f9e4b089910ebcabb5/1396347065266/Brooke_Piercing6.jpg Birds - Julie Brooke, A piercing glance (2008)   I made these surreal postcard-sized oil paintings of birds in response to Jacques Lacan's concept of 'the gaze,' in which a coupe de l'oeil (a glance, in French, which literally translates to 'a blow from the eye') can be seen as an act of aggression. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53197665e4b0bbbf4e7c6080/531ee3f8e4b0baf9a0ec4efe/1396347073986/Brooke_Piercing7.jpg Birds - Julie Brooke, A piercing glance (2008)   I made these surreal postcard-sized oil paintings of birds in response to Jacques Lacan's concept of 'the gaze,' in which a coupe de l'oeil (a glance, in French, which literally translates to 'a blow from the eye') can be seen as an act of aggression. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53197665e4b0bbbf4e7c6080/531ee3a8e4b0baf9a0ec4ead/1395558797035/Brooke_memento.jpg Birds - Julie Brooke, Memento mori (2008) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53197665e4b0bbbf4e7c6080/531ee3b8e4b089910ebcab7a/1395558810639/Brooke_eggbird.jpg Birds - Julie Brooke, Egg bird (2007) https://www.juliebrooke.net/knives daily 0.75 2014-03-23 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316b562e4b0ab76f8fe7ef0/531ee7eae4b030d9a20b2779/1395544422918/Brooke_Knife.jpg Knives https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/5316bbf4e4b0ea04898f4aec/1394150076127/Knife.jpg Knives https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316b562e4b0ab76f8fe7ef0/531ee7f5e4b04c1bc67d5789/1395544446812/Brooke_Knives_all.jpg Knives https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316b562e4b0ab76f8fe7ef0/531ee7ffe4b030d9a20b2783/1432912677809/Brooke_Knives_detail1.jpg Knives https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316b562e4b0ab76f8fe7ef0/531ee801e4b04c1bc67d5791/1395544487078/Brooke_Knives_detail2.jpg Knives https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5316b562e4b0ab76f8fe7ef0/531ee8b8e4b096196ad12d7d/1395544504328/Brooke_Knives_detail3.jpg Knives 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Triangulation https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/556c3bdfe4b0923c3c72151d/1433155906845/ Triangulation https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/556c38c6e4b04c7461902960/556c3aade4b0a30e58849f44/1433156409415/aJulie+Brooke_D0A7526+copy.jpg Triangulation https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/556c38c6e4b04c7461902960/556c3aade4b0a9228e3455c2/1433156409419/aJulie+Brooke_D0A7529+copy.jpg Triangulation https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/556c38c6e4b04c7461902960/556c3ab1e4b0a9228e3455d3/1433156409428/aJulie+Brooke_D0A7531+copy.jpg Triangulation https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/556c38c6e4b04c7461902960/556c3ab1e4b0a30e58849f54/1433156410588/aJulie+Brooke_D0A7533+copy.jpg Triangulation https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/556c38c6e4b04c7461902960/556c3ab8e4b0a30e58849f6c/1433156410591/aJulie+Brooke_D0A7534+copy.jpg Triangulation https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/556c38c6e4b04c7461902960/556c3ab9e4b0a9228e3455ef/1433156409806/aJulie+Brooke_D0A7537+copy.jpg Triangulation https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/556c38c6e4b04c7461902960/556c3ac4e4b07c43403537e4/1433156409807/aJulie+Brooke_D0A7539+copy.jpg Triangulation https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/556c38c6e4b04c7461902960/556c3ac5e4b0a30e58849f9b/1433156410838/aJulie+Brooke_D0A7542+copy.jpg Triangulation https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/556c38c6e4b04c7461902960/556c3abee4b0923c3c7211f4/1433156410128/aJulie+Brooke_D0A7541+copy.jpg Triangulation https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/556c38c6e4b04c7461902960/556c3ac9e4b05cf8dba97e3f/1433156410851/aJulie+Brooke_D0A7545+copy.jpg Triangulation https://www.juliebrooke.net/extended-labyrinth daily 0.75 2015-09-17 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/55fa13a9e4b0cacc2fc0f5e5/55fa1466e4b01cd1ed4fd2cc/1442452587327/Extended_labyrinth.jpg Extended labyrinth https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/55fa151be4b0b3a1e510e237/1442452587327/Extended_labyrinth.jpg Extended labyrinth https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/55fa13a9e4b0cacc2fc0f5e5/55fa141ae4b01cd1ed4fd16c/1442452517851/CropD.jpg Extended labyrinth https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/55fa13a9e4b0cacc2fc0f5e5/55fa13efe4b01cd1ed4fd050/1442452464598/CropA.jpg Extended labyrinth https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/55fa13a9e4b0cacc2fc0f5e5/55fa13efe4b09141053291ec/1442452464498/CropB.jpg Extended labyrinth https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/55fa13a9e4b0cacc2fc0f5e5/55fa1441e4b01cd1ed4fd21a/1442452551289/CropE.jpg Extended labyrinth https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/55fa13a9e4b0cacc2fc0f5e5/55fa1444e4b01cd1ed4fd21e/1442452549250/CropF.jpg Extended labyrinth https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/55fa13a9e4b0cacc2fc0f5e5/55fa1449e4b01cd1ed4fd22c/1442452555074/CropG.jpg Extended labyrinth https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/55fa13a9e4b0cacc2fc0f5e5/55fa1458e4b01cd1ed4fd27d/1442452572727/Entire.jpg Extended labyrinth https://www.juliebrooke.net/curriculumvitae-ul daily 0.75 2014-08-16 https://www.juliebrooke.net/contact daily 0.75 2014-03-06 https://www.juliebrooke.net/about daily 0.75 2015-06-29 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531fb184e4b0c1b7c9e290ed/531fb1e1e4b0c1b7c9e2920f/1396148902651/Brooke_Strange42.jpg About - Strange object (2011-12)   The images here are just a few of a very large series in which I focussed on the evolution of geometric forms from painting to painting. I observed how these developed into different bodies of work, some of which were more optically active, and others more biological in nature. They were based too on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531fb184e4b0c1b7c9e290ed/531fb1dbe4b0c1b7c9e29203/1396148891386/Brooke_Strange40.jpg About - Strange object (2011-12)   The images here are just a few of a very large series in which I focussed on the evolution of geometric forms from painting to painting. I observed how these developed into different bodies of work, some of which were more optically active, and others more biological in nature. They were based too on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531fb184e4b0c1b7c9e290ed/531fb1dde4b002f5b012fa67/1396148897018/Brooke_Strange41.jpg About - Strange object (2011-12)   The images here are just a few of a very large series in which I focussed on the evolution of geometric forms from painting to painting. I observed how these developed into different bodies of work, some of which were more optically active, and others more biological in nature. They were based too on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531fb184e4b0c1b7c9e290ed/531fb1c1e4b002f5b012fa1f/1396148879508/Brooke_Strange32.jpg About - Strange object (2011-12)   The images here are just a few of a very large series in which I focussed on the evolution of geometric forms from painting to painting. I observed how these developed into different bodies of work, some of which were more optically active, and others more biological in nature. They were based too on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531fb184e4b0c1b7c9e290ed/531fb1d1e4b002f5b012fa4c/1396148885990/Brooke_Strange39.jpg About - Strange object (2011-12)   The images here are just a few of a very large series in which I focussed on the evolution of geometric forms from painting to painting. I observed how these developed into different bodies of work, some of which were more optically active, and others more biological in nature. They were based too on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531fb184e4b0c1b7c9e290ed/531fb1c9e4b0c1b7c9e291e8/1396148873674/Brooke_Strange28.jpg About - Strange object (2011-12)   The images here are just a few of a very large series in which I focussed on the evolution of geometric forms from painting to painting. I observed how these developed into different bodies of work, some of which were more optically active, and others more biological in nature. They were based too on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531fb184e4b0c1b7c9e290ed/531fb1bae4b002f5b012fa04/1396148867222/Brooke_Strange27a.jpg About - Strange object (2011-12)   The images here are just a few of a very large series in which I focussed on the evolution of geometric forms from painting to painting. I observed how these developed into different bodies of work, some of which were more optically active, and others more biological in nature. They were based too on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531fb184e4b0c1b7c9e290ed/531fb1a6e4b002f5b012f9d0/1396148855443/Brooke_Strange26.jpg About - Strange object (2011-12)   The images here are just a few of a very large series in which I focussed on the evolution of geometric forms from painting to painting. I observed how these developed into different bodies of work, some of which were more optically active, and others more biological in nature. They were based too on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531fb184e4b0c1b7c9e290ed/531fb1b0e4b002f5b012f9e5/1396148861485/Brooke_Strange27.jpg About - Strange object (2011-12)   The images here are just a few of a very large series in which I focussed on the evolution of geometric forms from painting to painting. I observed how these developed into different bodies of work, some of which were more optically active, and others more biological in nature. They were based too on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531fb184e4b0c1b7c9e290ed/531fb1b8e4b04562985547fe/1396148849577/Brooke_Strange25.jpg About - Strange object (2011-12)   The images here are just a few of a very large series in which I focussed on the evolution of geometric forms from painting to painting. I observed how these developed into different bodies of work, some of which were more optically active, and others more biological in nature. They were based too on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531fb184e4b0c1b7c9e290ed/531fb18de4b0c1b7c9e290f2/1396148844077/Brooke_Strange19.jpg About - Strange object (2011-12)   The images here are just a few of a very large series in which I focussed on the evolution of geometric forms from painting to painting. I observed how these developed into different bodies of work, some of which were more optically active, and others more biological in nature. They were based too on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531fb184e4b0c1b7c9e290ed/531fb191e4b0456298554794/1396148837271/Brooke_Strange18.jpg About - Strange object (2011-12)   The images here are just a few of a very large series in which I focussed on the evolution of geometric forms from painting to painting. I observed how these developed into different bodies of work, some of which were more optically active, and others more biological in nature. They were based too on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/531fb184e4b0c1b7c9e290ed/531fb19ae4b002f5b012f9b4/1396148829405/Brooke_Strange20.jpg About - Strange object (2011-12) The images here are just a few of a very large series in which I focussed on the evolution of geometric forms from painting to painting. I observed how these developed into different bodies of work, some of which were more optically active, and others more biological in nature. They were based too on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles. https://www.juliebrooke.net/links daily 0.75 2017-06-04 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/5498a47de4b0f6433a34a24b/1419289728571/StrangeObject.jpg Links https://www.juliebrooke.net/news daily 0.75 2015-02-09 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/531e468be4b0b2e4038cbe41/1394493070993/Brooke_maths_detail.jpg News   Coloured pencil, gouache, and acrylic paint on wall, approx. 22 x 1500 cm (2013) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/545d4801e4b06e0eec9ead53/1415399426978/OppBoth.jpg News   Entangled labyrinths (2014). Gouache and pencil on board, 25 x 25 cm (left) and 30 x 30 cm (right) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/545d56b1e4b0f8d97a3bea95/1415403186179/10805550_10152647668337530_3578774128690286418_n.jpg News https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/53d2dc60e4b021e113e41ad1/1406327913532/Brooke+Megalo+screen+print News https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/538c70b6e4b08a7d4a55515c/1401712824969/ News https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/545d5895e4b00403fdd19235/1415403696685/PulseDouble.jpg News   Left: A private view (2009) and right: Let us calculate (detail, 2014) https://www.juliebrooke.net/curriculum-vitae daily 0.75 2017-05-12 https://www.juliebrooke.net/galleries daily 0.75 2017-05-06 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/532722d9e4b0f07b1f063c3b/55fa12b6e4b070d74301c51d/1442453071277/CropThN.jpg Galleries - Extended Labyrinth (2015) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/532722d9e4b0f07b1f063c3b/556c471ce4b01c7319e292ac/1433159510931/Untitled-1.jpg Galleries - Triangulation https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/532722d9e4b0f07b1f063c3b/5456bf93e4b0b7aa05bcad98/1414972531498/NewOpp.jpg Galleries - Brooke, Entangled labyrinth (2014) This series of works has been developed during my collaboration with applied mathematicians at the ANU. The paintings are inspired by 'entangled labyrinths,' also known as 'bicubic membranes.' https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/532722d9e4b0f07b1f063c3b/5327a02ae4b04ecedf6f089a/1395556597399/14_tBrooke_Knife.jpg Galleries - Julie Brooke, A case of knives (2007) https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/532722d9e4b0f07b1f063c3b/5327a02ae4b0790f5a8c460a/1396149295774/13_Brooke_eye.jpg Galleries - Julie Brooke, From right to left (2007) The works in this gallery are a series of detailed oil paintings of eyes. I wanted to make paintings that looked back at the viewer. I also relished the challenge of depicting the convex eye on the concave surface of the spoon. These works also reference the idea of the optogram, the image that forms on the retina of the eye. In the late Victorian era, it was believed by some that the eye could retain this image after death, a false belief that led to the idea that a retinal image, if developed like a photographic film, could provide evidence in murder trials. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/532722d9e4b0f07b1f063c3b/5327a026e4b0aec88e8e2f7a/1396149288748/12_tBrooke_bird.jpg Galleries - Julie Brooke, A piercing glance (2008) I made these rather surreal postcard-sized oil paintings of birds in response to Jacques Lacan's concept of 'the gaze,' in which a coupe de l'oeil (a glance, in French, which literally translates to 'a blow from the eye') can be seen as an act of aggression. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/532722d9e4b0f07b1f063c3b/5327a028e4b04ecedf6f0896/1396149274364/11_Brooke_Volvelles.jpg Galleries - Julie Brooke, Volvelles (2009-10) A volvelle is a paper 'machine' made of concentric circular discs that can be turned independently of one another. Early volvelles were used to calculate the positions of planets in the night sky. The medieval mystic Ramon Llull developed the idea further, using volvelles as a means of creating new combinations of words that (for him) could encode universal knowledge. I was intrigued by this idea and in response, developed a series of illusionistic paintings of abstract asymmetrical circular forms. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/532722d9e4b0f07b1f063c3b/5327a020e4b0aec88e8e2f69/1395652684808/10_tBrookeOpp.jpg Galleries - Julie Brooke, Oppositions (2011) This is a series of grid works where I explored the effect of contrasting two colours (orange and blue) over a range of tonal values. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/532722d9e4b0f07b1f063c3b/5327a01fe4b0aec88e8e2f67/1396149246505/9_tBrooke_Strange25.jpg Galleries - Julie Brooke, Strange objects (2011-12) This is an extended series of gouache paintings in which I used a circular grid based on Richard Buckminster Fuller's architectural drawings of geodesic domes. The images here are just a few of a very large series in which I focussed on the evolution of geometric forms from painting to painting. I observed how these developed into different bodies of work, some of which were more optically active, and others more biological in nature. They were based too on the 'combinatorial logic' of the medieval mystic Ramon Llull, who believed that all human knowledge could be derived from circular diagrams known as Llullian Circles. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/532722d9e4b0f07b1f063c3b/5327a019e4b04ecedf6f0889/1396149162712/7_tBrooke_Seeds.jpg Galleries - Julie Brooke, Seeds (2013) This is a series of gouache works on black paper that developed from my interest in Ernst Haeckel's Radiolarians, a set of extraordinarily beautiful and detailed images of microscopic biological forms. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/532722d9e4b0f07b1f063c3b/5327a016e4b0790f5a8c45f8/1396149196919/6_tBrooke_Crys3.jpg Galleries - Julie Brooke, Crystalline (2013) This is a series of gouache paintings on black paper in which I explored some of the possible forms that the circular grid could take. These works were exhibited in my PhD exhibition, Thinking Spaces, at the ANU School of Art Gallery in 2013. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/532722d9e4b0f07b1f063c3b/5327a013e4b04ecedf6f087f/1396149124268/5_tBrooke_ENP1.jpg Galleries - Julie Brooke, Lines of thought (2013) This is a series of gouache works on paper that I made in 2013 for my first solo exhibition, held at at David Sequira's EverythingNothingProjects exhibition space in Braddon. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/532722d9e4b0f07b1f063c3b/5327a010e4b04ecedf6f087d/1396149104719/4_Brooke_Calculate5.jpg Galleries - Julie Brooke, Let us calculate (2014) This is a series of gouache works on paper made in 2014 for an exhibition at the Factory 49 Gallery in Marrickville, Sydney. I've been enjoying the process of deciding on a system - based in this case on a circular grid - and then using colour in a simple way to build up a series of different images. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form, and its imperfect resolution in real materials. I drew the title Let us calculate from a statement by the co-developer of calculus, Gottfried Leibniz, in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about the idea that human affairs could be reduced to mathematical notations that I find both appealing and repellent. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/532722d9e4b0f07b1f063c3b/5327a012e4b0790f5a8c45ed/1395651339803/3_tBrooke_principle_d.jpg Galleries - Julie Brooke, The principle of continuity (2013) This is a work that I've made a few times now, adapting it to different spaces. The images in this gallery are from my PhD exhibition at the ANU School of Art Gallery, in 2013. The title refers to Gottfried Leibniz's 'Principle of Continuity,' which states that "nature never makes leaps... all natural change is produced by degrees." I used this to reference the way in which I create forms that evolve from image to image, and which at times allude to biological organisms. (I sourced the quotation from Larry M. Jorgensens's "The Principle of Continuity and Leibniz's Theory of Consciousness.") https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/532722d9e4b0f07b1f063c3b/5327a00fe4b04ecedf6f0874/1399253169420/2_tBrooke_Concrete.jpg Galleries - Julie Brooke, Conc/rete (2013) The title, Conc/rete, is a play on words. Concrete art, in which non-objective paintings are constructed using geometric elements, has been a major influence in my work. However I have split the word into 'conc, referring to shells, and rete, which is a reference to the rete mirabile, a structure once believed to exist in the brain and to mediate our experience of the world. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/532722d9e4b0f07b1f063c3b/5327a00de4b0790f5a8c45ea/1396149136373/1_tConnect.jpg Galleries - Julie Brooke, I can connect nothing with nothing (2012) I made this series of works in 2012, while reading the work of the early 19th century Pragmatic philosopher, William James. For James, the way we experience the world is not continuous, but is fragmented like a mosaic. I see connections between this idea and the cellular growth patterns I observed as a research scientist. The title is a line from T. S. Eliot's fragmented poem, The Wasteland. https://www.juliebrooke.net/sqsp-test-1 daily 0.75 2014-03-17 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/53278d57e4b0aec88e8e19b1/1395073171273/ SQSP Test Wall drawings https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/53278d57e4b0aec88e8e19af/1395073405763/ SQSP Test I can connect nothing https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53278d57e4b0aec88e8e19b4/53278d57e4b0aec88e8e19b3/1395099135755/Brooke_Calculate2.jpg SQSP Test - Let us Calculate https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53278d57e4b0aec88e8e19b4/53278d57e4b0aec88e8e19b7/1395074081596/Brooke_ENP1.jpg SQSP Test - Lines of Thought https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53278d57e4b0aec88e8e19b4/53278d57e4b0aec88e8e19b8/1395074064870/tBrooke_principle_d.jpg SQSP Test - Wall Drawings https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53278d57e4b0aec88e8e19b4/53278d57e4b0aec88e8e19b5/1395099140465/tnBrooke_Concrete.jpg SQSP Test - Con/crete https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/53278d57e4b0aec88e8e19b4/53278d57e4b0aec88e8e19b6/1395099101649/Brooke_Connect2.jpg SQSP Test - I can connect nothing https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/53278d57e4b0aec88e8e19b2/1395073516171/ SQSP Test Let us calculate https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/53278d57e4b0aec88e8e19b0/1395073494985/ SQSP Test Con/crete https://www.juliebrooke.net/spoons-statement daily 0.75 2014-08-16 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/53313ef6e4b0ec02b6018b44/1395740653022/ Spoons/statement https://www.juliebrooke.net/i-can-connect-nothing-statement daily 0.75 2014-08-16 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/533157c7e4b0082b81db7952/1395742664818/ I can connect nothing/statement https://www.juliebrooke.net/concrete-statement daily 0.75 2014-08-16 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/5366ecb0e4b0e241736d9f97/1399254703273/ Concrete/statement https://www.juliebrooke.net/home daily 1.0 2016-04-30 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/55fa9d79e4b0d0a2bf324171/1462017872602/ Home Photo credit: Sue Blackburn https://www.juliebrooke.net/statements daily 0.75 2014-08-16 https://www.juliebrooke.net/vccvafs-catalogue-essay daily 0.75 2014-12-22 https://www.juliebrooke.net/entangled-labyrinthsstatement daily 0.75 2014-12-01 https://www.juliebrooke.net/let-us-calculate-statement daily 0.75 2014-08-16 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed46ce4b05d85bc5649ed/1396345861057/Brooke_Calculate9.jpg Let us calculate/statement - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed458e4b0b1520ba56bb5/1396345821054/Brooke_Calculate6.jpg Let us calculate/statement - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed463e4b05d85bc5649e2/1396345845587/Brooke_Calculate7.jpg Let us calculate/statement - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed433e4b05d85bc5649ab/1396345802341/Brooke_Calculate2.jpg Let us calculate/statement - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed449e4b0b1520ba56ba2/1396345811473/Brooke_Calculate3.jpg Let us calculate/statement - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed452e4b05d85bc5649cd/1396345779162/Brooke_Calculate5.jpg Let us calculate/statement - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed444e4b05d85bc5649b2/1396345791143/Brooke_Calculate4.jpg Let us calculate/statement - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/5318506fe4b02cc79a145f6d/531ed433e4b05616ec3b0063/1396345754595/Brooke_Calculate1.jpg Let us calculate/statement - Julie Brooke, Let us calculate (2014) The title of these paintings (Let us calculate) is taken from a statement by the co-developer of calculus, Gottfried Liebniz (1646-1716), in which he speculated that in the future, "when there are disputes among persons, we can simply say: Let us calculate [calculemus], without further ado, to see who is right." There's an optimism about this idea (that the messy complexity and diversity inherent in human affairs could be reduced to mathematical notations) that I find both appealing and disturbing. The geometric shapes I work with are all 'ideal', until I render them in paint. From a distance, and at a quick glance, the circular grids seem highly ordered. But there's a distinct slippage between the perfection of an imagined form and its imperfect resolution in real materials, that parallels Leibniz’s utopian aims. https://www.juliebrooke.net/principle-of-continuity-statement daily 0.75 2014-08-16 https://static1.squarespace.com/static/531674bbe4b02dddf753dcd2/t/53eed16fe4b0439bf8d224c3/1408160185401/Brooke_principle1.jpg Principle of continuity/statement