INKQ Edition #3


Building on the eclectic mix of the first two Issues, Issue Three brings together a diverse collection of visual material, weaving science with art, philosophy with imagination. A monograph in blue, the amalgamation of its content intended to both provoke thought and entertain.

Issue Three also abounds with synchronicity and harmony. JR Shepherd’s meditative editorial on spirals chimes very neatly with Scott Beadle’s elucidative explanation of the spiraling of galaxies. The juxtaposition of these articles signalling once again the congruity and symmetry of nature, whether it exists within our universe or without.

The poet and cultural sage Martin Sexton writes on the connection between Robert Graves and the emergence from the devastation of the First World War of the Verdun Tree. A symbol of survival and resiliance, not only for nature but for mankind.

Crystal Gandrud, a contemporary multidisciplinary artist, gives us a left-field treatise on the the subject of flowers and Ikebana; the Japanese art of flower arrangement, also known as Kado – ‘the way of flowers‘. Equating everyday domestic adornment with Flowers as a reflection of the greater universe may be a step too far for the western mind to absorb, but Crystal’s charmingly idiosycratic manner makes this an engaging introduction to a complex and esoteric concept.

A short introduction to the art installation ‘Darkgreenishblue – Blackishpurple’ by Stig Evans is an off-beat commentary on the nature of the use of colour throughout the arts and sciences.

We are privileged to be able to showcase an example of beautiful work by Liz Shippam. Her blueberry series radiates colour and light. Liz is a member of the American Society of Botanical Artists and has had work selected for their Annual International Exhibition in New York every year since joining. Closer to home, we are proud to say that she is a Royal Horticultural Society medal winner.

The well known ceramic artist Sarah Mills has written an interesting piece on cobalt and its use and significance in ceramics. Technical but always engaging, it gives an insight into how materials influence the manufacturing process in art. Accompanying her text are two fine examples to illustrate her work; a fine and delicate cup with iridescent colours and a death urn. The latter is made all the more poignant by Sarah’s diagnosis of Multiple Sclerosis some 5 years ago.

We are not ashamed to say that one of our favourite pieces is a fine vibrant calligraphic illustration by Simon Sonsino, a calligrapher, textual artist and international selling author who specialises in abstract expressionist art. For Simon, calligraphy fosters clarity of thought and natural structure and that being in contact with the paper means disclosure of thought or emotion has less opportunity for deviation. We find ourselves in absolute agreement and believe that INKQ furnishes a perfect medium for Simon to deliver his interpretive vision. Because we would like to think that Simon’s acuity is so in tune with the message of INKQ, another of his compositions adorns the envelope in which INKQ is wrapped and delivered.

As always, packaged with thought and presented and printed on recycled, lightweight paper evocative of quality newsprint, the fragility and near transparency of the medium resonates with the content; the impermanence of passing moments constrained by the rigidity of the natural world.


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