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.
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.
Mixed media on canvas 20″ sq
A seashell and other objects are embedded into and onto the canvas. The shell although like an ear is as much sending as catching a message in the form of a cloud whisper. What might be a landscape or seascape is turned to form another plane or reality.
Ruling Out or Containing Assertion
Transcending the Presence : The Lucid Moment
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.
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.
There are variations therefore in the way these can be arranged and seen.
these are the 4 basic permutations although each of these could be viewed ‘upside down’.
They can be arranged as a pattern
Limitary Patterns revisited
A Natural History
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.
Mixed media including bitumen and assemblage on canvas.
2014 8″ x 8″x 1″
This contiuation from the Grass Roots series aims at a darker allegorical meaning.
Bare Roots I
A series of three small (8″sq) paintings using mixed media and cement on canvas.
Bare Roots II
Bare Roots III
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.
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.
Grass Roots I
Grass Roots II
Grass Roots III
Grass Roots IV
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.
Again inspired by nature and infinity this series celebrates the magical aspects of the world around us.
The final image in the series 4 Enchanted Spaces
Mixed media and acrylic paint and medium with embedded objects on cement on canvas
20″ x 20″ 2014
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.
Acrylic paint and medium on cement with mixed media and embedded materials.
20″ x 20″ 2014