The shaped surfaces of the forms act sympathetically upon the water in them, generating swinging or pulsing movements. This occurs even though the water enters in a steady flow. The process can be compared to the creation of rhythmic air movement and hence the sound in a wind instrument. Development of these forms often requires much experimentation – the shape of any one design of Flowform may take months or even years to perfect. It really is like tuning an instrument.
There
is a spectrum of possibilities for the expression of rhythmic flow.
Many different designs have been made in order to explore this spectrum,
some very elegant and artistically satisfying forms, some more
functional. So the Flowform work can be seen from the artistic side as
the unfolding of this range of water sculptures embodying the same idea
in aesthetically varied ways. Finish reading on his site...
John Wilkes, a trained sculptor, had been working with water for several years searching for ways to enhance it through flow over surfaces generated through projective geometry. This was done in conjunction with George Adams who had revealed the geometry within natural form, and Theodor Schwenk a scientist working with a phenomenological approach to water.
Although
water usually flows in an asymmetric way, John decided to investigate
how water would respond when presented with symmetrical forms, as living
organisms often develop symmetrically. Almost immediately he found
rhythmic flow arising. Later investigation showed that to develop rhythm
it was a question of finding a double bowl of appropriate proportions
for a given flow speed and with the appropriate measure of resistance.
The water needs to meet itself within the form and there needs to be a
suitable space to allow a dynamic movement to develop. Within the double
bowl this flow can have a lemniscatory (figure
of eight) form. A research colleague, Dr Philip Kilner, went on to
discover that rhythmic flow could also happen within a single bowl. This
is very similar to the development of rhythmic flow in the bloodstream
of a developing embryo prior to the formation of the heart. Philip
returned to the medical world where he continues to work in the realm of
heart flow dynamics.
Finish reading on his site...
Simon Charter has also taken an interest in the forming properties of water and their connection to the forms seen in living organisms (following the work of Theodor Schwenk). Projective Geometry is also able to show this connection and he has recently begun to work more intensely with this, sensing it may be the key to an understanding of many otherwise baffling phenomena in the life realm.
In 2012 he completed a masters of education on the Flowform idea and where he researched
the way students learnt through observing and engaging creatively with
the element of water, allowing an active conversation to reveal its inherent nature. Since then, he has used this
Goethean approach in collaborative workshops on water and many other subjects
in the field of Natural Science. Below find some highlights from his Ebb & Flow website.
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