Illusion of Inclusion

illusion of inclusion sm

Mixed media and acrylic on canvas 40cm sq

There are barriers some are subtle others plain. A net is more than a barrier, it catches and holds. The frayed edges soften the impact; maybe they are time worn, as if by tradition. The net sorts and separates, being caught in the net is being caught out. Included yet excluded.

 

 

Advertisements

Sea Shell Sky

sea shell sky v2 sm

Mixed Media and acrylic medium on canvas. 40cm sq

What might be a landscape or seascape is turned to form another plane or reality. The boundary between surfaces and realities is blurred. Scale becomes ambiguous. The crusted edges either coast or shell, the pearl-shimmer horizons are twisted from the horizontal.

 

Transcending the Presence

Transcending the Presence : The Lucid Moment

/home/wpcom/public_html/wp-content/blogs.dir/990/39900426/files/2015/01/img_2817.jpg

Mixed Media and acrylic on canvas. 40cmsq
There is a suggestion of an angel, perhaps in transition from an earthbound reality. The collaged fragments are from a magazine article on the aerial photography of Edward Burtinsky. There is a mix of plan and elevation and of object and image.

Hidden Repeats

In two parts this piece is an extension of the Limitary Patterns theme. The work incorporates borders and sections, boundaries and edges. This developed during the making to include matching transitions of pattern across the canvas edges on all sides. This is similar to, but not exactly a hidden repeat pattern.

The two parts are 40cm sq in mixed media and collage on cement on canvas.

Part 1

Hidden Repeat part1 sm

Part 2

Hidden Repeat part 2 sm

There are variations therefore in the way these can be arranged and seen.

Perm 4
these are the 4 basic permutations although each of these could be viewed ‘upside down’.
Hidden Repeat perm 8

They can be arranged as a pattern

Hidden Repeat sm

Night Leaves

IMG_2313.JPG
Mixed media including bitumen and cement with assemblage on canvas
2014  8″x 8″ x 2″

A continuation from the ‘bare roots’ series, this piece relies more on composition and texture. The natural colour of the cement ground is more obvious.
In Night Leaves there is also a more deliberate attempt to create a sense of allegory.

Bare Roots and Other Things Unearthed

Bare Roots I

A series of three small (8″sq) paintings using mixed media and cement on canvas.

20140515-161624.jpg

Bare Roots II

20140515-161723.jpg

Bare Roots III

20140515-161801.jpg

Bare Roots; the origins revealed or left by paring to the essentials. Again this concerns beginnings. A continuation from the ‘grass roots’ series, these pieces rely more on composition and texture and surface. The natural colour of the cement ground is more obvious than in many of the other pieces.

Grass Roots

A series of four small (8″sq) paintings using mixed media and cement on canvas.

Grass Roots: the origin or basis of something; the basic or primary concept, rule, part, or the like. Again this concerns beginnings. Each piece started with a fragment of grass root from local moorland. These pieces also use collaged fragments of imagery created through digital manipulation of my landscape photography.

20140419-201017.jpg
Grass Roots I

20140419-201105.jpg
Grass Roots II

20140419-201130.jpg
Grass Roots III

20140419-201151.jpg
Grass Roots IV

Digitachism

At the moment the phrase digitachism brings no results on Google from which I guess that it is a term unused before now. I have coined the word to describe artwork made digitally but in the spirit of Tachism. Digital Tachism.

“Tachism, French Tachisme, (from tache, “spot”), style of painting practiced [sic} in Paris after World War II and through the 1950s that, like its American equivalent, Action painting, featured the intuitive, spontaneous gesture of the artist’s brushstroke. Developed by the young painters Hans Hartung, Gérard Schneider, Pierre Soulages, Frans Wols, Chao Wu-chi (Zao Wu-ki), and Georges Mathieu, Tachism was part of a larger French postwar movement known as Art Informel, which abandoned geometric abstraction in favour of a more intuitive form of expression. Art Informel was inspired by the instinctive, personal approach of contemporary American Abstract Expressionism, of which Action painting was one aspect.”

“Like their American counterparts, the French-educated Tachists worked with a loaded brush, producing large works of sweeping brushstrokes and of drips, blots, stains, and splashes of colour. Their works, however, are more elegant and lyrical—often including graceful lines and blended, muted colours—than the works of such American painters as Jackson Pollock and Willem de Kooning, on whom the French artists modeled themselves. The Tachists were also less indebted than were the Action painters to uninhibited psychic inspiration.”
The Editors of Encyclopædia Britannica

When processing and layering images with blending modes and effects I am aiming for the unconscious, intuitive, spontaneous and instinctive in decision making. Serendipity born of technology and a poetic response.

The Antithesis series is my first work in this method.

20140419-200050.jpg

Golden Flux

The third image in a series of Enchanted Spaces. Two ideas collided here.

I was seeing the image as a poetic visualisation of ‘The Field of the Cloth of Gold’, evocative and romantic words reaching beyond the Tudor history. These visualised perhaps as a banner above glinting armour with an earthy ground. The hearaldry of a mythic pomp and circumstance.

Learning of ‘phase transition’ via a radio discussion it (the image) seemed also to depict the description given by the physicist to explain this phenomenon. The edges where properties of matter change in different conditions were described as a volatile mix of structure and space.
So the golden cloth is at some level in a flux with more or less stable edges.
Within within.

20140404-155814.jpg

Acrylic paint and medium on cement with mixed media and embedded materials.
20″ x 20″ 2014