Patience Painting

The main two focuses I am exploring in my paintings, are ideas concerning the system/serial, by which the same repetitive process is undertaken. I try to determine the outcome of an action by being as rigorous and meticulous as possible, however, something interesting is born through the instability of that strict process. My curiosity lies within the inconsistencies of the medium once applied; this tension between the precision of application and the chaotic quality of the paint almost echoes the human spirit- the universal struggle of an indeterminate reality. The physicality of paint on the surface pushes the boundary of what is considered a 'painting', bordering more into the realms of sculpture and relief work, to occupy a physical pictorial space. There is a desire to touch, a sensuality created by the kisses of paint, that leaves a lasting imprint on the viewer as they resist their urge to examine the layers. In my current practice, I am interested in the materiality of paint, the tackiness and density, a physical imprint left behind. I am exploring this through the adoption of a specific style and in the methods used whilst working. Through the exploration of colours, a system had arisen determining the way the paint is applied and moved across the canvas. Through the exploration of colours, a system had arisen determining the way the paint is applied and moved across the canvas. However within that system, there are irregularities, the notion of the similar, but within those similarities there are incidents. There is a process in the way the paintings are created; a rigorous system from which there is no sudden deviation. It has been methodically worked out, there is no sudden change in the painting. Another way I attain the idea of the serial are the format and configuration I paint on, square formats that can be interchanged, displayed into different ways that can drastically alter the whole image, thus creating new images. The slight change in the format can change the whole dynamics of the paintings. As obsessive as this may seem it is the content, depth and subject matter that I am interested in. To dive deep into the spiritual and psychological realms through simple means; although simple in its means, the language of the forms and colours are as complex as human emotions. Each collection, each piece of work, each line can be interpreted in their own way, acting like a mirror, reflecting the history of the artist who created it, and the reflection of viewer’s history. It brings forward life through straightforward means, to be experienced. To try and gain an idea of the complexities of life and painting, I created a system and restrictions on the way I paint. To make it as straight foward as possible in the approach to create these paintings, the contradictions are the outcomes/ lines that are three dimensional. How I pick up the paint onto the palette knife and how much pressure I apply to the panel determines the three-dimensionality of the paint, similar to that of mountainous terrain rolling out onto flat even terrain, something about it has a preordained feel to it, as much I try to control the variations, there will always be a deviation when the paint is applied. It is the contradictions that are fascinating. With this systematic way of working there was an unexpected outcome, the outcome of visual disturbance, the fluttering of the colours that make it unsettling to look at, almost overpowering when viewed, not one colour seems to be stable, constantly blinking in and out of the visual space, almost a shuttering action with a Venetian blind quality to it. To conclude the entire statement, a direct quote from Sean Scully, “ Art does not need to make sense or to function or to demonstrate any particular idea. It testifies to the beauty of imperfect human thought and action muddled up with feeling”.

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:40 W x 40 H x 0.3 D in

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