Garnitures for temple or house, no. 9 (the mountains and the rain) Painting

My art practice has always been concerned with exploring the logics of systems and the process of semiosis: How do signs and signals produce meaning? How are they decoded and read? The concept of legibility is relevant to my work. In painting, I am interested in attempting to subvert the paradigms of sight, by producing works that resist immediate visual perception. Monochromaticity imparts a greater importance to the specificity of each stroke, having many separate complex strokes that interweave and interlace and together form “currents” (local directional trends) complicates the viewing of the image, because it is difficult to then discern the specific and the whole at once. I am transitioning from being fascinated with delving into the specificity of the painting, to also being interested in how the painting inhabits the space around it. I see painting as sort of posturing as ontologically separate from the space it inhabits, with it’s firmly bordered space, it clearly delineates the boundary between itself and its surroundings. My newest series of red paintings address this to some degree by being themselves partitioned by an imperfect grid structure, I see them as garnitures to a structure, and I am intrigued by the potential in integrating painting into structures in a more direct way than just hanging them on a white wall.