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Raban’s arrival in London to study Painting at Saint Martin’s School of Art in 1967 initiated four years of experimentation in various media to explore visual perception. The dictum by Thomas Aquinas (subsequently adopted by Ananda K Coomaraswamy) that ‘art imitates nature not through mere appearance but in her manner of operation’, inspired the Wave and Tree Print paintings leading to the making of subsequent films where natural phenomena become the primary agents of change. River Yar (1971-2) made jointly with Chris Welsby, is considered in detail as are the London landscape films Colours of This Time and Broadwalk (both made in 1972). Raban’s early engagement with expanded cinema is discussed with reference to the multi-screen films Diagonal (1973) and Surface Tension (1974-6) together with the film performance Take Measure (1973).

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A Student at Saint Martin’s, River Yar and Other Early Works

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  • 发表日期：

    2025年

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  • William Raban

摘要

Raban’s arrival in London to study Painting at Saint Martin’s School of Art in 1967 initiated four years of experimentation in various media to explore visual perception. The dictum by Thomas Aquinas (subsequently adopted by Ananda K Coomaraswamy) that ‘art imitates nature not through mere appearance but in her manner of operation’, inspired the Wave and Tree Print paintings leading to the making of subsequent films where natural phenomena become the primary agents of change. River Yar (1971-2) made jointly with Chris Welsby, is considered in detail as are the London landscape films Colours of This Time and Broadwalk (both made in 1972). Raban’s early engagement with expanded cinema is discussed with reference to the multi-screen films Diagonal (1973) and Surface Tension (1974-6) together with the film performance Take Measure (1973).