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...
Tuesday, 20 June 2017
After making drawings for my last work Screen Loop, I became interested to see how much variation I could find within the parameters of square edged, right-angled compositions. These lines operate more like closed loops or the lemniscate [ ∞ ] with illusory connexions hidden behind the visible structure.
During this process I began experimenting with colouring the compositions and saw that the strangeness of a freehand wobbling lines of alternating colours contained within the hard edge of the composition was a compelling extension of this logic.
After the small texta drawings (image 3) I moved to a larger drawing working with oil pastel on board (image 2). The oil pastel has a nice quality in the mixing of colours where they touch each other and overlap. This showed me more clearly what was possible with this technique and impelled me to go on.
Next I made another drawing on board, this time using Posca paint markers (image 1). The Posca comes out with vibrant hard edges, and the colour is more uniform and cleaner than the oil pastel.
I now intend to make a new painting in this style, using acrylic paint and have devised a system for its production. The working out and discovery of new logical systems that generate unpredictable images of controlled chaos is always a thrilling experience for me.
Tuesday, 23 May 2017
Screen Loop, acrylic, pine and fly screen, 2017. [90 x 60cm approx]
After deconstructing the work from my show Material Figments, all that was left were these coloured beams of various lengths laying on my studio floor like a partial set of over-sized cuisenaire rods. In thinking about what to do with these loose parts I started moving them around and making new arrangements through drawing. I began to devise a line that would hang flat on the wall in snaking segments. Manipulating these segments into forms of rotational symmetry led to a closed shape that bends around itself.
I immediately recalled work I had made as an undergraduate inspired by the decorative screen door of the house I grew up in. I decided to use the fly screen knowing that where the material overlaps it interacts with itself creating beautiful shifting moiré patterns as you move around.
This prototype is a first experiment in (re)using fly screen, and another fascinating amalgamation of old work into new forms.
Tuesday, 16 May 2017
999, acrylic and ink on board. [40 x 30 cm]
This series directly relates to the work I made at Our Neon Foe last month, it is what happens when the expanded field collapses. These paintings are a product of the thinking in that work, the collapsed remains of that thought.
The colours of the beams change in sequence like the colours of the sculpture I constructed and the ground mimics the wall painting, although now in the malleable space of the painting the ground twists with the beams, further distorting the possibility of its form.
Thursday, 20 April 2017
Vector illustration with digital collage, (1136 x 640 326 ppi).
These images fit the specs of an iPhone 5 screen (my current model) to serve as a wallpaper for both the lock screen and the home screen. The altered colours of the second image (and burred resolution) facilitate a subtle transition to the home screen, as animated by the standard operating system of the phone.
This is the third composition for iPhone I have made, and this time it is purely digital, with the vector paths drawn in Adobe illustrator and the background skin a pixel sorted image made from a digital photograph I took with my iPhone. Pixel sorting is a method of distorting an image by shifting the positions of pixels using a code. I manipulated my photograph using a program called Processing and an open-source script written by experimental media artist Kim Asendorf.
These two images are free to use as your own lock screen and home screen backgrounds.