Ian Segrave

Monday, 12 March 2012

Untitled (2012)
Canvas (unprimed and pre-primed), gloss paint
50 x 45 x 25 cm

Skulls (random house series) (2012)
Acrylic on wood
25 x 50 cm

Tearz 2 (2012)
Acrylic on board
30 x 50 cm

Wednesday, 7 March 2012

Zombie Look (Random house series) (2012)
Acrylic on wood
20 x 10 x 10 cm

Tearz (Random house series) (2012)
Acrylic on wood
20 x 15 cm

Skull (Random house series) (2012)
Acrylic on wood
20 x 10 x 10 cm

Creature (Random house series) (2012)
Acrylic on wood
20 x 10 x 10 cm

Monday, 5 March 2012

Windows (Random house series) (2012)
Wood, acrylic, string
65 x 65 cm

Lean Out (Random house series) (2012)
Wood, acrylic
30 x 30 cm

Sun (Random house series) (2012)
Wood, acrylic
30 x 30 cm

Red and Pink (Random house series) (2012)
Wood, acrylic
70 x 30 cm

Using Your Head (Random house series) (2012)
Wood, acrylic
30 x 70 cm

Landscape Green Sky (framed) (2012)
Oil and acrylic
35 x 35 cm

Twisted (2012)
Oil paint, wood, canvas
165 x 75 x 45 cm

Twisted (upright) (2012)
Oil paint, wood, canvas
165 x 75 x 45 cm

Twisted (dramatic landscape) (2012)
Oil paint, wood, canvas
195 x 75 x 45 cm

Landscape Red Sky (framed) (2012)
Oil paint, canvas, plinth
155 x 45 x 45 cm

Spill (2012)
Acrylic
45 x 65 cm

Thursday, 23 February 2012

Deterioration (2012)
Canvas, wood, emulsion
155 x 85 x 30 cm

The Painter (random house series) (2012)
Acrylic on wood
45 x 30 cm

Developing Thoughts on My Practice

For me painting is not just the way paint can form itself on the surface of a canvas or the image created, it is the objectivity of being a painting, and what its form as a whole is capable of doing. I believe that further depths than surface content can be achieved through the spatial awareness of form and positioning allowing the potential to create new dialogues. The structural quality of the framework lends itself to possible alterations that can let it exist in a now sculptural navigation of space.

I have adopted a term for my painting through the word ‘prop’ on the objective definition; though also follow it through to its verb. I see the work to be doing something as to represent another thing; using the stage term of prop; being a thing to use as to represent or exaggerate a certain item. This could also translate itself to describe the work through painterly definition from item to subject, though the verb of prop relates back to its physical existence and installation format. I do not make paintings that take the form of existing items however; I take the less direct approach and try to strip back to the bare minimum needed. Metaphorical allegories are created through transcendence from painting to material. My work can be simply aspects of painting; wood, loose canvas, a surface in itself, or a painting in full form mutated to my desire. The mutations are an approach to show the painting as something of anthropomorphic quality, suggestive of the prop as an individual.

Being still of painterly origin I try to (when I do) paint with a very free and liquid style that tries to give evidence of process and layering. I am very interested in the way that colour can relate itself back to a humane existence; by using Reds I try to assert a sense of the internal, often cropped by a darker rendition of colour (black). I am very interested in the depths that black holds through its density, and predominantly use the colours Red and Green; as the two mixed together create black.