Alan’s Rainbow. Angelo Cerantola 2012:
"My portrait of Alan Turing is based on one of his classic photographic portraits, re-visited and given a personal contemporary interpretation. I've used an ASCII-style graphic make-over both as a reference as well as tribute to his pioneering work in the fields of mathematics and cryptography... letters and numbers that can be read, in a playful and "retro" fashion, almost as secret codes waiting to be deciphered. The rainbow trail hints at his contribution to a peaceful outcome of the WW2 conflict as well as more intimate aspects of his personal life marred by a tragic epilogue.”
Untitled, Lloyd Hughes: Untitled (Acrylic Print) from the series 9x9 Arrangement(s)
That my work is a celebration of automated information, finding a unique beauty within numbered information, the endeavor - I would say that has been helped by my understanding of what happened at institutions like Bletchley. Learning about the endeavors of people like Alan Turing and co were and in some ways remain an inspiration (others being mainly Benoit Mandlebrot).
I feel that what happened there helped motivate so many aspects of post war technology and our understanding of the possibilities that they eventually filtered through the main stream and that of sub pop art movements like Op Art in the sixties which requires patience and a basic level of understanding of pattern.
Maybe Bletchley’s legacy, artists that know of, and have drawn on their persistence and have been compelled to make artworks the way we do. The processes share common frustrations, the constant re-examination of finished works to iron out any imperfections which really re-iterates the notions of 'human error'.
I’m not any sort of maths wiz or an expert on Bletchley, but like many people I'm aware of its role and feel what happened there swung the course of WW2 in our favour and therefore, in my opinion, owe it the luxuries we enjoy today. In my current practice I aim to celebrate patterns and puzzles via my viberate paintings and installations, people engage in numerous ways, with admiration as the time consuming nature of them is evident and sometimes even negatively as they try to negotiate the coloured patterns, some find them difficult to look at as a result.
Bradley Hayman creates abstract paintings that contain hidden messages. With his work at Bletchley Park visitors will be able to become code breakers themselves, using their smartphone, reflecting on the artist’s past site-specific installations. Hayman’s work combines traditional painting media with contemporary digital media in the form of QR or Quick Response Codes. By introducing colour into these abstract patterns, Hayman creates a new visual language. What would otherwise be indecipherable can be interpreted by combining the new technology with the virtually obsolete technology of a pair of red and blue stereoscopic 3D glasses.
Bradley Hayman graduated from Goldsmiths, University of London with a BA in Fine Art (Studio Practice and Contemporary Critical Studies) in 2008 and has exhibited at The Sassoon Gallery, Peckham, London (2009), with Q-Art London at the University of the Arts, London and APT Gallery, Deptford, London (2009), and with Angry Candy at Corsica Studios, London (2006).
Automatic Writing - Hannah Elizabeth Allan:
March 28 2012 | The Archive of Miss Alder:
Curated by Beverley Bennett / Dennis Da Silva, Ghost Station was an exhibition from ArtHertz staged at Bletchley Park - the home of code breaking during World War II and the birthplace of modern technology. The month long event was part of the Milton Keynes Heritage Open Days - Summer of Culture 2012 and explored themes of codes, code-breaking and messages, Alan Turing, the role of pigeons and women in World War II. The exhibition also explored the ongoing ArtHertz agenda of the analogue / digital distinction. Ghost Station also included the critically acclaimed collaborative piece, Station X (featured on BBC Radio 4) - an installation that documents the Bletchley buildings with sound, film, photography and surfaces