Sunday, 18 March 2018
Acrylic and ink on board [60 x 45cm each]
I have been playing with simulated rock surfaces for a while now, but these are the first two paintings that utilize all I have learned in these previous experiments. The flat trompe-l'œil is achieved by following a logical sequence initiated in the drawing phase.
A rectangular area is divided into six segments, of three pairs of unique shapes, arranged with rotational symmetry. By removing the edges cut from the rectangular template I push the composition into a more rounded form using flat curves. Tonal values of light to dark follow from top left (lightest) to bottom right (darkest). Applied in many transparent layers a neutral green gray is made by mixing complementary opposites of red/pink and yellow/green.
I am fascinated by this whole process, from start (line drawing) to finish (rock) and intend on producing more in series, building towards some kind of rock wall.
Tuesday, 27 February 2018
Wool, air drying clay, brass screw eyes and acrylic on pine.
This work came from a moment of collapse, where different streams of thought converge. During the transition of the new year, all the work I had made (last year) condensed into this object/painting.
With time to think during the holidays and while sitting in an unfamiliar backyard watching a spider tend to its web, I was drawn to the idea of a hanging structure for my studio as a kind of space grab to utilize the only area currently left bare.
I am glad to have made it through this epoch, and now see new series beginning to evolve.
Monday, 15 January 2018
Façades, acrylic and ink on board. [121 x 60 cm]
I began working on this painting in December last year after a series of new drawings. I was thinking about forming a composition through the motion of a line rotating on a point. The line descends from the vertical creating diagonal segments which leaves behind a zigzagged pile of stacked units.
These compositions represent a shift in self imposed rules, opening up the full potential of 360° rotation and leaving behind the strict geometry of the isometric grid.
Friday, 15 December 2017
My work from Smashed Screens last month at Delmar gallery.
This standing screen flowed on from my first Screen Loop work. Here the looping occurs in three dimensional space as opposed to illusory space. It is a difficult object to photograph, as the experience of the rippling interference patterns is only activated as you walk towards or around it.
Big thanks to curator Priscilla Bourne for including me in the show.
Sunday, 29 October 2017
Sunday, 8 October 2017
Acrylic on board with Tasmanian oak coverstrap moulding. [111 x 51cm approx.]
These monochrome works mimic the look of architectural elements from suburban homes, like the one I grew up in, with a rear extension of fibro-cement wall cladding and expressed joints.
The composition is slightly raised from the board with a rolled Tasmanian oak strapping that cover the butted joints. The curved edges of the strapping catch the light and throw a shadow at the bottom edge. This shadow play gives the monochromatic finish a new depth with light to dark tones changing as the light changes.
These experiments will be taken further with new compositions and variations in scale and form.
Sunday, 20 August 2017
Acrylic and Posca on board. (90cm x 60)
This painting continues the logic of the Square Wave compositions. An underlying structure camouflaged by a repetitive sequence of lines that follow the contours of the previous line, rapidly distorting from a starting, straight line that undulates into a soft rippled wave.
I see a limitation within the composition and a space for variation within the colour, yet I feel this work beginning to complicate itself. I will follow its lead by making drawings and see where this takes me...