Abstract
The Pictorial Bible series explores ways in which biblical texts can be visualized without recourse to figuration or illustration, within a non-iconic framework of religious art. The series represents a coming together of two faculties (believing and seeing); two cultures (the bible and visuality); and two disciplines (biblical studies and art practice). Within the network of these interactions, the works are concerned with visualizing biblical texts with reference to a tradition espoused by Judaism and aniconic sensibilities within Christianity that is predicated upon the illegitimacy of pictorializing spiritual concepts and scriptural stories and events.
The Bible in Translation is the third project in The Pictorial Bible series (following Settings of the Psalms (2000) and Seal up the Vision and Prophecy (2007)), and the second project in The Aural Bible series (following R R B V E Ǝ T N Ƨ O A (2015)). The exhibition investigates ways in which texts from, commentaries upon, and cultural articulations of, the Judaeo-Christian bible can be transformed into visual and sonic images. The printed, spoken, and heard word is subjected to a hermeneutical process that deploys systems of codification, excision, and redaction, and techniques of collage, superimposition, and abstraction. By these means, the source material yields significances, connections, and resonances that are not ordinarily evident.
School of Art Gallery, Aberystwyth University (Feb. 16 – Mar. 20, 2015).
The Bible in Translation is the third project in The Pictorial Bible series (following Settings of the Psalms (2000) and Seal up the Vision and Prophecy (2007)), and the second project in The Aural Bible series (following R R B V E Ǝ T N Ƨ O A (2015)). The exhibition investigates ways in which texts from, commentaries upon, and cultural articulations of, the Judaeo-Christian bible can be transformed into visual and sonic images. The printed, spoken, and heard word is subjected to a hermeneutical process that deploys systems of codification, excision, and redaction, and techniques of collage, superimposition, and abstraction. By these means, the source material yields significances, connections, and resonances that are not ordinarily evident.
School of Art Gallery, Aberystwyth University (Feb. 16 – Mar. 20, 2015).
| Original language | English |
|---|---|
| Place of Publication | Aberystwyth |
| Publisher | Prifysgol Aberystwyth | Aberystwyth University |
| Size | 23 works |
| Publication status | Published - 28 Feb 2015 |