Canvas, wood, emulsion
155 x 85 x 30 cm
Acrylic on wood
45 x 30 cm
Thursday, 23 February 2012
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.
Thursday, 16 February 2012
Oil and acylic on wood
35 x 25 cm
Oil and acylic on wood
35 x 35 cm
Acrylic, canvas, wood and plinth
150 x 65 x 50 cm
Acrylic, wood and plinth
120 x 85 x 50 cm
Acrylic and spray on wood
30 x 15 cm
Old canvas, expanding foam, oil paint
spray paint, emulsion, mirror and plinth
150 x 65 x 50 cm
Old canvas, expanding foam, oil paint
spray paint, emulsion, mirror and plinth
150 x 65 x 50 cm
Polythene, spray and plinth
170 x 65 x 50 cm
100w bulb, wood, corrugated perspex,
oil paint, spray paint and plinth
120 x 65 x 50 cm
Hanging Wood 2012
Acrylic, oil paint, rope and wood
400 x 75 cm
Saturday, 21 January 2012
Oil on canvas
80 x 120 cm
Oil on canvas
80 x 120 cm
Oil on canvas, wood
150 x 190 x 60 cm
Oil on canvas, wood
120 x 150 x 60 cm
Oil on canvas, wood
130 x 150 x 60 cm
Oil on canvas
175 x 70 x 60 cm
Oil on canvas, wood
90 x 50 x 60 cm
Oil on canvas, wood
90 x 50 x 60 cm
Oil on canvas, wood
90 x 60 x 60 cm
Oil on canvas, wood
100 x 30 x 30 cm
Oil on canvas, wood
220 x 70 x 60 cm
Oil on canvas, wood
200 x 70 x 60 cm
Oil on canvas, wood
200 x 70 x 60 cm
Small Surface (2012)
Oil on canvas
30 x 40 x 30 cm
All images courtesy of Kate Parker Photography
Thursday, 29 December 2011
Holding On To Painting
My practice has always been about trying to negotiate the abilities painting; as a unique descriptive form, can be transferred or at least give emphasis to its physical surroundings. There has always been a sense of conflict whenever I view painting that encroaches upon sculpture in terms of its placement within a space; they seem to want to be a part of one another however there is always an underlying wariness as to what is in control. The conclusion then can only be assumed that the way the viewer navigates the space would be a direct control path as to how the work should be perceived. This would not so much make the work site specific, but site aware. Once this issue has been addressed the true metaphorical inclinations of structural shape and painted surface can marry into a desired form of unity. My work therefore is in constant play with these factors as to try and portray itself in the ‘correct’ manner; that is to say that it is accomplishing my preconceived notions. My recent works have been largely dominated by the desire to create a physical tension to something very basic, which may or may not have relevance to an objective form. I use the word prop to describe the action of these works, however it is more accurate to say that the prop in itself is a descriptive form. These works use painting in the loosest of terms; as they hold the physical contributes to painting (the frame) more than a subject matter to literate their source. Works such as Touch and Collapse are examples of how delicate the act of propping something to one another can be, and allows interpretation through the very factor of its instability to remain a standing form. Works such as Prop Window and Canvas Hanger use the theatrical term of prop; an object relational to another, or more emphasized to clarify its objective hood. I believe this dichotomy gives way to a more painterly conceived notion rather than a sculpturally derived narrative as it allows a certain play with interpretation; treating the physical space more as a frame to view the prop in act than an area to get fully involved with. Paintings tend to be a window into another place, a view hole cropped by reality; I like to think of my installations as doing something similar to this. My work is often placed against a wall, or suspended in a way that seems unconditioned by human hand, therefore restricting the viewer’s immediate involvement with the work; a sense of sensitivity when viewing the work makes it more visual than physical to the viewer and their perception of form and perspective gets narrowed. This allows a certain control that adds the physical connection to a visual stimulus; unifying my desires of painterly traits through sculptural means.
Wednesday, 28 December 2011
Wood
155 x 55 x 10 cm
Wood, spray gloss
155 x 55 x 10 cm
Wood, spray gloss
170 x 85 x 15 cm
Wood
185 x 155 x 50 cm
Wood, canvas, gloss paint
190 x 155 x 15 cm
Wood, canvas, gloss paint
205 x 155 x 50 cm
Wood, canvas, gloss paint
185 x 155 x 30 cm
Wood, canvas, gloss paint
225 x 155 x 15 cm
Wood, canvas, gloss paint
235 x 135 x 35 cm
Wood, canvas, gloss paint
235 x 100 x 255 cm
Wood, canvas, gloss paint
235 x 100 x 125 cm
Wood, emulsion, paint can
235 x 100 x 155 cm
Wood, emulsion
200 x 100 x 155 cm
Hit (2011)
Wood, emulsion, string
200 x 145 x 35 cm
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