Letter from the Editor

The exact history of Saint Valentine, a Roman priest who supposedly performed secret ceremonies for Christians, has a tricky legacy of origin. Identifying his story's relevance in the celebration of the namesake day, however, is a much simpler task. Among some conflicting stories of his varying services of good will, one theme is perennial: the importance of celebrating love. This year’s Valentine’s day, as with all our beloved rituals pre-COVID, will be marked by its unique approach to this centuries-old holiday. People globally (except, perhaps, in New Zealand) will be encouraged to distance from each other, rather than embrace and touch, in strange dissonance to the lineage of a day where physical and emotional intimacy are (usually) a priority. This issue therefore seeks to encourage a celebration of love beyond traditional romantic or physical boundaries, as moments of affection feel increasingly rare to us all. February 14th will represent the passing of just another day in lockdown for many; some might even welcome a break from the increasingly commercialised nature of modern celebrations of Valentine's Day. Here at TN2, however, we hope to offer you a Valentine’s issue that eschews the expectations of this day's traditions, and instead simply embraces the idea that at the moment, in whatever form it may take, we could all do with a little bit more love in our lives. In light of threats of loss or separation, we begin to truly appreciate how precious the people we have to love really are.

Our Valentine's cover is a special homage to the concept of celebrating love, created as a collaboration between a couple: the art is produced by Chloé Mant, and the photography by Éadaoin Fagan. Some written spotlights of this issue are: a guide to identifying your love language, a list of the best and worst boyfriends in TV history, and tips on nurturing friendships from a distance. I’d once again like to thank the TN2 staff who have dedicated themselves to this issue, and have worked diligently in spite of the ever-looming dark cloud that is this pandemic. Lá Fhéile Vailintín Faoi Mhaise Duit!

Stay safe.

Yours sincerely,

Ursula

www.tn2magazine.ie

Piet Mondrian, Neoplasticism, and the Artist’s Most Iconic Compositions

Geographical planes and primary colours are elements of neoplasticism that transform fragmentation into form, and chaos into simplicity. These stylistic choices were advanced by Dutch artist Piet Mondrian (1872-1944) in a new era of expressionism known as ‘De Stijl’ (1917-1931). The National Gallery of Ireland’s limited exhibition on Mondrian showcases the chronological evolution of the artist’s work, from beginnings in naturalism, to pointillism and cubism, to the Neoplasticism Mondrian is renowned for today.

I visited the exhibit back in December 2020 during Ireland’s quick stint at Level 3; while the exhibit is no longer open for in-person viewing, the National Gallery has released a fantastically comprehensive online exhibit on Vimeo, led by the Gallery’s Janet McClean. On loan from the Kunstmuseum Den Haag, the works span over a 40-year period, first detailing Mondrian’s humble beginnings as a young Calvinist in the Netherlands at the turn of the 19th century. The artist’s time in the farming communities of North Brabant induced his fascination with texture and shape. While the subject of Mondrian’s paintings is largely agricultural, the artist does not focus on the details of the landscapes. Rather, as demonstrated in ‘Barn at Nistelrode’ (1904), Mondrian concentrates on the form of his subjects, squaring out blocks to bring attention to the natural angles of the composition.

With a burgeoning artist’s community specialised in light, colour, and pointillism, the Dutch province of Zeeland became a place of great inspiration for Mondrian. Intrigued by the intersection of spirituality and thought, Mondrian frequented the theosophical communities of Doesburg, Zeeland. These communities advocated for the maintenance of balance, harmony, and a spiritual connection with nature. As demonstrated in ‘Lighthouse at Westkapelle’ (1906), ‘Dune III’, and ‘Arum Lily, Blue Flower’ (1909), Mondrian painted through the lens of theosophy, bringing attention to the horizontal and the vertical. A dotted pointillist style with blue and green contrasts against hues of pink and orange, further emphasizing Mondrian’s prescription to the linear forces of nature. This period for the artist is verging on abstract; even so, it is grounded in the naturalist elements that are a central theme in all of Mondrian’s art.

After viewing an exhibit on Picasso, Sézanne, and Braque, Mondrian became enthralled with cubism. With a piqued interest in abstract art, Mondrian moved to Paris in 1911 and worked closely with artists including Rivera and Delaunay. Mondrian captured trees and buildings, reducing the forms of the subjects into their basic shapes. The artist’s time in Paris marked a key transition in his work. Cubist compositions, including ‘Composition in Oval, Color Planes’ (1914), became the basis of Mondrian’s most iconic paintings.

In 1914, at the onset of World War I, Mondrian fled his Paris apartment for the Netherlands. The artist remained confined in Holland for the duration of the war, although it was during this period that Mondrian came together with Theo van Doesburg (1883-1931) to begin an internationalised art movement known as ‘De Stijl’, dutch for ‘The Style’. The two artists began this small community to establish a new artistic language that focused on elements of Mondrian’s past: the horizontal, the vertical, and primary colours. Although the group soon split over an artistic disagreement, Mondrian continued to utilize the techniques of Neoplasticism.

Mondrian returned to Paris after the war to continue advancing his art. Of all works produced, ‘Composition with Red, Blue, Black, Yellow, and Gray’ (1921) is the most striking; Mondrian eliminated details to produce a painting that reverberates tranquility. Stylized internet reproductions don’t do the composition’s texture justice; in person, Mondrian’s brush strokes are imperfect, and purposely rough. Whilst precision is not an obstacle for the artist, colour accuracy carves the way for resplendent visuals. Shades of white vary from egg white to a soft gray. Mondrian layers the paintings with consistent red, yellow and blue, using orange as an accent colour. Thick black lines differentiate the colour blocks, ensuring the simplistic appearance of a two-dimensional figure. Mondrian advanced further ‘De Stijl’ through repetition and variation until his death in early February 1944.

The artist’s contemporaries have employed impressions of Mondrian’s Compositions in art, architecture, fashion, and film. In the 21st century, Mondrian’s name is closely associated with modernism, naturalism, and internationalism; modern creatives will continue to appreciate and draw inspiration from Mondrian’s work for generations to come.

A Beginner’s Guide to Knitting

If baking bread wasn’t your thing during quarantine, chances are you considered taking up another unexpected trend of 2020: knitting. In recent years, Nordic countries have established a new visual direction for knitting, which contains, at its core, the interaction of simplicity and good design. But knitting isn’t an immediate skill - it requires careful planning and time for improvement. Here’s the quickstart guide for someone just getting into knitting.

1. Stitches. Knitting is the sum of two stitches, the knit and the purl. Stockinette stitch is the most common alternation of these stitches, and resembles a flat series of braids on one side (knit) and horizontal waves on the other (purl). Both sides are knitted in garter stitch. In ribbing, stitches are knitted to create perpendicular ridges and purled to form indents. The effect is a stretchy fabric. The easiest way to understand these stitches is to look at them in ordinary pieces of clothing.

2. Notation. Notation depends on the language in which the pattern is written, but in English, k means knit and p means purl. Co is cast on, which is how you create the stitches at the beginning of a project. Kt2g means knit two stitches together in a right slant. Decreases that are left-slanting are ssk, or slip slip knit. Kt2g and ssk decrease stitches in a garment, for example at the crown of a hat. Fortunately, the knitwear designer will typically include a key with the abbreviations used.

3. Patterns. Now that you’ve understood stitches and notation, it’s time to find a pattern. Knit a scarf as your first project. The Spruce Crafts and Purl Soho have easy, free patterns. Once you’ve got your foot in the door, sites like Ravelry, which is a resource for knitters and crocheters, can be useful for finding patterns. Designers will post their patterns there, likely at a price (5 euro is standard), but there are also free nuggets to be found. PetiteKnit is one of the more popular pattern designers online.

4. Yarn and Needles. There are many different types of yarn, and they come in many different colours. Go to a yarn store if you can: show the sales assistant your pattern and they’ll point you towards suitable yarn and needles. I’ve found that using good quality, natural yarns increases the likelihood of wear. Remember to keep the yarn labels for washing instructions. If you’re choosing yarn and needles on your own, pay close attention. The yarn you use will require a corresponding needle size. Check the recommended needle size on the yarn label. Check the size and type of needle (straight, double-pointed, or circular) in your pattern. Make a ‘swatch’ or a sample with your yarn and needles to match the pattern’s gauge. On Ravelry, you can look up projects that used the yarn you’re interested in. Later, you might use multiple strands of yarn at once. Until then, be patient.

5. Getting started. On the topic of patience, you’ll need it for this part. First, watch a tutorial on casting on. Then, watch a tutorial on the knit stitch. Cast on 20 stitches and knit on straight needles. Once you’ve got that down, learn to purl. When you try ribbing, use a smaller needle size and do a 2x2 rib. Now you can start your pattern. If your knitting looks like nothing the first few rows, continue. It will take shape. Continental style knitting is faster than English style knitting, but learn the latter first. Don’t be afraid to ‘frog’ (unravel) if your work looks wonky or you made mistakes – I do this all the time. Before you know it, you’ll be casting off your scarf. And look up blocking!

Congratulations, you’ve learned to knit! In the 2010s and 20s, knitting has experienced a resurgence. Now more than ever, patterns are stylish. Resources are at your fingertips. Yarns are diverse. Ultimately, there’s freedom in knitting. If you worry about sustainability, choose an eco-friendly yarn, and if you like hats that are just the right amount of oversized, adjust yours to your liking. It’s all in your hands.