- An Adoration of the Cathedral's Geometry
Work by Julian Broadhurst: 'My passion is for an an aesthetic of
pure shape and pure form'. The art is given by the artist to 'the
fabric of the cathedral in trust for the people of Liverpool'.
A 1200 x 1700 mm ink Black print on a laminate panel, comprising
eight 'Geometric constructions over montages of the Cathedral's
groundplan' - November 2002. Donated to the Fabric of the Cathedral
in trust for the people of Liverpool April 24 2003.
I have not, nor did I intend to represent or depict the Crucifixion
in this work. It is not a rendering of it in abstracted form. Rather
the 'Language' of my work, its syntax, is one of pure shape. I have
spent my life in Geometric Art, deriving a Visual language from
pure shape, the Triangle, the Square, the Circle et al. These Elements
are the 'Given' basis of the Art I call Elementalism; Eight Crucifixions
is an Elementalist work. One analogy of this type of abstraction
is Music, because it, like Pure Shape, is constituted of composed
elements of Pure Sound.
This is the last in a series of works based on the Ground plan
Geometry of the Cathedral, called 'Sacred Circles', after the circles
defining its groundplan. I promised the Cathedral Authorities one
of these works but then, the title 'Eight Crucifixions', insisted
itself upon me and I knew that an entirely new work was called for.
In November 2002 I began by assembling the montages of the groundplans
I would use as a base. I then drew in each a Geometric Tracery,
to a tight set of rules I devised for the purpose; giving a distinct
family of patterns, but with each one differing in some measure.
They are then Variations on this rule plan. The Work was completed
through an industrial process of printing and mounting.
I followed the great Ceri Richards, in his panel for the Chapel
of the Blessed Sacrament, by nominating mine as an Altarpiece. To
my mind it has a spirituality, principally in that a meditation
on pure shape is always revealing, perhaps a spiritual act. However
to be true to the title to which, for which, it was composed, the
multi-layering of stars could be read as 'Crowns of thorns', eight
of them, but let these also be seen as echoes in an Adoration of
the Cathedral. As an artist I merely invite people to contemplate,