End Of Line 2 Painting

Thomas Alan Bartlett


Painting as a criterion is objectively explored and scrutinised as a platform so as to promote its most prominent traditional materiality, paint. Utilising a defined system, the works and their geometric facades are structured and modeled. As a context the historicity of painting and its traditional make-up are exploited further. Traditions employ the use of familiar supports and materials to determine unconventional outcomes.

Monochromatic and duotone surfaces discombobulate the viewer and their primary scope of a work. What might first appear as a two dimensional painting is in fact divergent from its suggested linear, formality.

The coiled paint formulates a gesture, each one distinguishable via their sequential path. The square/rectangular frame depicts the physicality of each gesture.

Form, plane, layers and gesture are systematically re-addressed so as not to negate but inform the fundamentals of painting. The formality of linear gestures rely on the frame for support, yet suggest an expressionistic informality and offering of alternativity.

Thomas Alan Bartlett
2009