IMG 6971-001-warp- and weft-
IMG 6974-001-Why do they never take colour photos?…
IMG 6975-001-Why do they never take colour photos?…
IMG 6977-001-Stairway 1
IMG 6981-001-Bu Num Civilisation Wheel 1
IMG 6980-001-Stairway 2
IMG 6985-001-195.5Arc x 14 (1)
IMG 6982-001-Bu Num Civilisation Wheel 2
IMG 6988-001-Broken Butterflies
IMG 6992-001-Diamond
IMG 6993-001-Clouds
IMG 6987-001-195.5Arc x 14 (2)
IMG 6999-001-The Return 1
IMG 7002-001-The Return 2
IMG 7006-001-X
IMG 7009-001-Exotic Tree 2
IMG 7007-001-Exotic Tree 1
IMG 7012-001-Picnic Grove 2
IMG 7015-001-Poem in Lights to be Scattered in the…
IMG 7016-001-Fork Chair
IMG 7018-001-London to Paris
IMG 7021-001-Regardless of History
IMG 7023-001-Icarus Palm
IMG 7024-001-Octopus's Garden
IMG 7028-001-Some Slindon Pumpkins
IMG 7029-001-Mr Upton
IMG 7011-001-Picnic Grove 1
IMG 6969-001-Ghost Trap Car
IMG 6968-001-Ghost Trap 3
IMG 6967-001-Ghost Trap 2
IMG 6966-001-Ghost Trap 1
IMG 6965-001-Escape (My Family History)
IMG 6964-001-Identity
IMG 6711-001-Pickled Greens
IMG 6708-001-Oldest House in Bath
IMG 6707-001-Sally Lunn's House
IMG 6702-001-The Bath Bun Tea Shoppe
IMG 6573-001-No1 Royal Crescent
IMG 6525-001-Hands Dairy Ghostsign
IMG 6698-001-Hands Dairy
IMG 6710-001-Tupra Jewellers
IMG 6504-001-House of Tupra Ghostsign
IMG 6695-002-Roman Baths & Abbey
IMG 6693-001-World Heritage Symbol
IMG 6690-001-World Heritage Site
IMG 6688-001-Sacred Spring 5
IMG 6686-001-Sacred Spring 4
IMG 6685-001-Sacred Spring 3
IMG 6684-001-Sacred Spring 2
IMG 6663-001-Sacred Spring 1
IMG 6681-001-Plunge Pool
IMG 6675-001-Water Comes in Here
IMG 6673-001-Lead Pipe
IMG 6667-001-Roman Bloke 2
IMG 6666-001-Roman Bloke 1
IMG 6677-001-Great Bath 4
IMG 6671-001-Great Bath 3
IMG 6669-001-Great Bath 2
IMG 6657-001-Great Bath 1
IMG 6661-001-Terrace Statue 6
IMG 6658-001-Terrace Statue 5
IMG 6650-001-Terrace Statue 4
IMG 6648-001-Terrace Statue 3
IMG 6647-001-Terrace Statue 2
IMG 6643-001-Terrace Statue 1
IMG 6649-001-Lawson & Brydon
IMG 6646-001-Great Bath from Terrace 2
IMG 6640-001-Great Bath from Terrace 1
IMG 6654-001-The Birds
IMG 6639-001-Bath Abbey 8
IMG 6623-001-Hen Party
IMG 6629-001-Pulteney Weir 3
IMG 6628-001-Pulteney Weir 2
IMG 6616-001-Pulteney Weir 1
IMG 6636-001-Pulteney Weir and Sluice
IMG 6637-001-Pulteney Bridge
IMG 6634-001-River Avon
IMG 6614-001-Pulteney Bridge Shops
IMG 6612-001-Donation Dogs
IMG 6610-001-V V Rouleaux
IMG 6611-001-Royal Mineral Water Hospital
IMG 6606-001-Hawker Joinery
IMG 6608-001-George Street
IMG 6599-001-Garden Door
IMG 6604-001-Queen's Parade Place
IMG 6596-001-Georgian Garden
IMG 6585-001-Housekeeper's Room
IMG 6589-001-Kitchen
IMG 6578-001-Withdrawing Room
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IMG 6970-001-Head
Cass Sculpture Foundation, Goodwood, West Sussex.
In the late 1990s John Davies introduced monumental heads to his practice. For Davies, the development of this extreme scale provides new opportunities to explore how the human figure may be perceived and how one can relate to it differently. The minute figures within the monumental heads are intensely detailed and so endow the viewer with authority, as the figures are inspected. The large heads, with no less detail in their surface, reduce the viewer to a Lilliputian scale. John Davies spent much of the mid nineties working on a group of large heads, including Big Head, in an attempt to explore this subject further. Davies became interested in forcing a physical relationship with these works—in the way that two or three of these monumental heads, when placed close together would insist that viewers would have to squeeze between them. This action essentially proffers the sensation of being in a crowd or standing adjacent to large boulder standing stones.
In the late 1990s John Davies introduced monumental heads to his practice. For Davies, the development of this extreme scale provides new opportunities to explore how the human figure may be perceived and how one can relate to it differently. The minute figures within the monumental heads are intensely detailed and so endow the viewer with authority, as the figures are inspected. The large heads, with no less detail in their surface, reduce the viewer to a Lilliputian scale. John Davies spent much of the mid nineties working on a group of large heads, including Big Head, in an attempt to explore this subject further. Davies became interested in forcing a physical relationship with these works—in the way that two or three of these monumental heads, when placed close together would insist that viewers would have to squeeze between them. This action essentially proffers the sensation of being in a crowd or standing adjacent to large boulder standing stones.
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