Simon Beck Sand Art – Simon Beck follows difficult snow-covered terrain to create geometrically patterned works that require the skill of a mentor and the creative bent of an artist.
Finding a snowflake carved with the precision of footprints on a surface covered in natural snow is a rare sight. The frigid temperatures of the Swiss Alps didn’t stop British snow artist Simon Beck from practicing what he wanted to do. Long stretches of snow aren’t limited to skiing for the artist, who is also an expert in orienteering. The snow-covered ground serves as a large canvas to represent art that can have an ephemeral quality but leaves a lasting impression on viewers. The ‘perseverance’ of the earth artist and the ‘patience’ of the mandala practitioners are two key qualities that inform Beck’s work.
Simon Beck Sand Art
Interestingly, Beck, now considered a landscape designer, studied engineering before turning to the creative field. He takes us on his journey through these monumental shifts from science to sports to the creative field: “The truth is, I never became an engineer. I took Engineering Sciences at Oxford because everyone said ‘You have to go there if you get in, you’d be a fool not to’, and I went there knowing I didn’t want to take the course, and from then on I was fighting a losing battle with my problems. So I ended up using my orienteering skills to make orienteering maps, and these are the map making skills (using a magnetic compass and determining distance using speed counting) (used in reverse) that is used to make snow patterns . Plus, of course, the physical stamina that comes from making maps all day or hiking in the mountains.”
L’anneau D’anhur Art Sable Sable Et Neige International Par L’artiste Simon Beck Sur La Plage Dans Le Somerset, Brean England, Uk Photo Stock
If you thought the snow was ephemeral enough to be of limited advantage, Berk even traversed the expanse of sand. From beach art in Somerset to the Brean coast, Beck has also created intricate sand work: “As you use the intertidal zone, lines are created ‘joining’ the surface, working the concept of color difference. the surface has dried, compared to raked sand, where the wet sand from the bottom is exposed. Thus, scraping can start about four hours after the high tide, and the drawing should be finished two hours before the next high tide. it took two hours to measure and six hours to rake. Exactly why scraped sand stays a different color during long heat from the sun is a mystery; it fades a little sometimes, but not much. The sand It’s easier than snow because the measurement can be done without creating unwanted lines, but there’s n the obvious challenge of completing it in time.”
Whether it’s snow or sand, the impermanence of the screen can cause unwanted surprises in the terrain. Furthermore, creating art – dragon, fractal, snowflake or even a geometric pattern – in snow or sand is a race against time. To avoid wasting quality time on site, Beck digitally creates a part on a computer. He further explained: “It’s a question of choosing a design that can be done well within the deadline and, in the case of snow as a canvas, being able to measure it by working on the paths through the design that will be part of the final work. So, in the snow, designs composed of disconnected elements, for example letters will have unwanted lines connecting the letters.”
Artworks are not easily accessible for everyone due to travel barriers or the inherently short nature of artworks. To overcome these limitations, Beck documents and captures the artworks in the form of photographs to give the works a longer life. The paperback on his snow art adds a touch of permanence to his works. Beck explained the need for outreach: “Now that everyone is expecting video footage and drones, this is an area I have to put more effort into. At home on the Arc2000 there are great locations for terrestrial photography and I really don’t need a drone ( though it’s time to buy one), and the sand work is done at Brean Cove, where there’s a big hill next to the beach for land shots, and about half the time it was too windy to fly a drone. And two people dropped their drones trying to shoot me!”
The Ring Of Anhur Sand Art By International Snow And Sand Artist Simon Beck On Brean Beach In Somerset, England, Uk Stock Photo
When creating art in snow is not only a terrifying experience but relies on natural phenomena, what does the artist expect from his audience who see the work’s final form on the untouched surface? Beck expressed, “Art affects different people in different ways. For me, it’s a challenge to design the best way possible, but in snow, the biggest factor in how beautiful the resulting look is usually the lighting when it’s full. The sun it should be low, but not low enough that part of the drawing is in shadow, and the snow should be light, fluffy, and windless. Ten of the 12 drawings I made when I visited Colorado in January 2020 were destroyed by the wind.”
The most common snow art is snowmen. Its presence in history, literature, art attests to its long theological and political preoccupations. Be it the 14th-century manuscript of
Or a lesser-known snowman by Italian sculptor Michelangelo, commissioned by state ruler Piero di Lorenzo de’ Medici for his courtyard, the art of snow has long reigned in socio-creative fields. Beck’s snow art, currently devoid of any –ism, reinforces the artist’s long-standing association with snow as a creative material. Beck has focused on the process of making these snow arts, for years to come, given the politically charged world we live in, he may aspire to align his work with a deeper meaning that goes beyond creative pleasures.
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Dilpreet is a Delhi-based writer-researcher. He is a member of the Alliance for Historical Dialogue and Accountability, Columbia University, New York. He is co-editor of Third Eye: Photography and Ways of Seeing and Voices and Images. His essays on visual sociology and identity politics are frequently published in leading books, journals and magazines. He is the associate editor of a thematic journal dedicated to the visual arts, published by the India Habitat Center.
Multidisciplinary artist Sizhu Li creates immersive kinetic installations with digital control systems and motorized mechanisms to appreciate life and nature.
Australian artist Ben Heim explores his abstract digital practice and discusses his excitement about what new media can hold.
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This website uses cookies to provide you with an improved and personalized experience. If you continue browsing, we will assume your consent for this. Artist Simon Beck has created a massive 170 x 100 meter drawing of a Patek Philippe Nautilus on the sand of Brean Beach in Great Britain, which is 11 kilometers long. According to interviews given by the artist to local media, he was hired by an unidentified German fashion magazine.
Previously, Beck was commissioned to create large designs of the current model of luxury snow watches for Germany.
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Weekend magazine of the national newspaper, that to complete his drawings he only needed a compass, a sketch and a lot of time. He creates motifs at his home in the French Alps, then calculates the size so that every millimeter of his design equals one step. Using a compass, he traces the shape, counts the steps and places the sticks as marks. He makes circles with a long string to form a kind of human outline compass.
While the final product appears machine-made in its precision, these designs are completely hand-crafted (or perhaps “feet-made”) by a human.
Although it took Beck more than eight hours to complete the Patek Philippe design
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