Photographic documentation of Marking Time exhibited Oct /Nov 2011

The following images are photos of the latest Studio1projects exhibition Marking Time. I created a selection of views. If one thing I can say is that the documentation of this show views like a watered down version of the actual viewed experience  of these works in my studio. You don't experience the texture colour or material of the artworks and in doing so most of the context and real meaning of these works are lost. I don't consider this a valid way to look at my work but when I think about it the way I experience a large majority of artworks through books and publications maybe its not that much different to what I do the difference maybe that I don't have much choice in the matter.

Invitation and catalogue for the next studio1projects studio exhibition

Below I have posted the invite and final draft of the catalogue to view for the next Studio1projects studio exhibition opening on the Fri  21 Oct 6-8pm.

My studio will be open for a two days and any further viewing can be arranged via appointment.

Documentation of the exhibition will be available to view online from the 1st Nov 2011 on this blogspot.

CATALOGUE PAGES 1-9

Marking Time : Insight to the next studio1projects exhibition.

With the next studio1projects exhibition about to open in three weeks or so I have been writing a little background information to the exhibited works and previous artworks that influenced the stage these works are now at. Most of this will be presented as catalogue for the upcoming show.

MARKING TIME

Revealing the painted mark through the act of creating, copying and mimicking a simple action belies the complexities of the act itself.

The painted mark presupposes a strong history in art as do similar kinds of artworks where the importance of detail is a material one. This current series of artworks I create employ the material of the painted mark in turn  characterise a process of adapting my art practice to creative necessities I require as an artist now, and integrate aspects of both the mental and physical placement of oneself in this present time. This process is realised through the creation of artworks that are literal through their construct, incorporate an intuitive factor through the unpredictability’s of both fixture and form. Visualise the artists hand through a simple visual assemblages.

Creating artworks that are literally marking time.

Looking through my own history as an artist in summery, I could say it was defined through the idiom of geometric abstraction. Particularly hard edge abstraction I created works that were mainly painted directly onto a wall. Through time I realised I needed to evolve from that position because it reached a point of becoming static for me even though I was still committed to the language of geometric abstraction and creating works that were temporal in both their reading and construction. It was time to loosen up the hard edge an action I felt could progress my art practice. Wherever I went to from here, I still desired my artwork to suggest a similar language and began to realise the simplicity of the answer.

Clearly, it is not what I create but how I create it.

Photography has always been an important element in my art practice through my hybrid approach to this discipline I utilise the process and material form in favour of the pictorial depiction of a subject. The early works that venture into this newer territory as examples show (fig.1) considered the painted mark through the qualities of both material and light painting and photography.

                             

            

                                  Fig. 1 Examples from Marking Time series, photogram prints,

                                               20 x 20 cm, 2009.

These works were challenging as they present the material of the painted mark in variation through transitions of light. The intuitive process of making these artworks creating further readings of fluidity and speed of movement conditioned a quality of time through what were essentially very simply constructed artworks. The final presentation of one of the first series of Marking Time shown in (fig.2) retains the geometric form overlaid with variations of painted markings. Simple as that process may seem the painted mark is mimicked through a photographic process and each segment reads as a variation in time through the look and construction of their markings. The experience of these artworks is primarily visual imitating a tactile one.  

Here is where the complexities begin.

(Fig.2)

Marking Time series

  (Installation view)

       Photogram prints, 9, 20 x 20cm each, 2009

Continuing Imitations.

A desire to continue interpreting the act of painting influenced the next phase of works I created which played between the physical constructions of materials layered and dialogues of thought promoted through the continuing imitations of the painted mark. Materiality is more forefront in the viewed experience of these current works which were equally visual as they were tactile, in contrast to the previous works shown in (fig.2).

Fig. 3 Examples works from Marking Time series, Adhesive tape, acrylic on paper, 30 x 40 cm, 2009

I experimented with materials like masking tape and arranging cut lengths of painted paper (Fig.3). My aim was to further imitate, mimic the gestured painted markings arranged through the first Marking Time series (fig.2). Using and considering the nature of materials such as masking tape, it became evident that the final appearance of the artwork was not an absolute it was becoming realised throughout the act of making. Upstaging the final presentation of the artwork and giving precedence to process. A strong intuitive element was becoming evident in my art practice it was enacting questions of value in my artwork. What is of value here the final so-called resolved artwork or is that counteracted by the temporal nature of both the material and its presentation? Was the viewer now in a position to visually experience and understand the process over the finite resolution presented as the resolved artwork?

I have a problem with the word resolved and believe it is too much a fixed notion that restrains my creativity rather than progress it.  

Drawing an emphasis on process

Its taken a while to get past the last show but the next series of works are coming along and they present my art practice in its current direction. Which is briefly outlined in the following passage.

Through the viewed experience and considered through indices of the very materials that form the physical construct of the artwork. My art practice continues to engage a dialogue where the actual material can be a record to its development through the process of making. Further to explore making artworks without the finite distinctions of a set or fixed resolved artwork rather a continuum of projects that present artworks as variables to a process. A process examined intuitively through the unpredictability and chance elements of the materials I use to make my artworks. This I hope to achieve through the simple use of material, a reductive format and duration, qualities that set the actual artwork through the impermanence of its setting and the vulnerability of it's material form.

I prefer my artwork to be considered as a process of thought and temporal experience rather than solid object.

The following are a few example images of the current body of work shown in progress which I would like to open as the next studio show in about a months time. The title of this show I am working on is MARKING TIME.

In forethought these preliminary works show how the geometric abstract is now a feature to a body of work rather than a dominant factor. It also highlights how the geometric aspect has become reflexive to a construct of space and time, through a modern environment whilst directing the viewers attentions to material process.


The use of adhesive tape mimics and further directs a discourse that questions the painted mark, the adhesive tape creates a volume, reveals the act of making and represents a mass produced generic product into an art context which for me is the most interesting aspect of my work and one that I direct my practice toward. 

Detailing the viewed experience

One of the problems I always find in my work is that the photographic documentation does not reflect the viewed experience of the installation. The texture and color of the paint and all the varied nuances of the surrounding surface. These qualities are in effect what my work is all about and that is lost in translation of photographic documentation. It makes it very difficult to discuss my artwork with people who have not seen the actual installation and most of the time its a lost cause trying. I was thinking of this when preparing to sand the walls back in my studio in preparation for the next project. I began to think how I could bridge some of these problems so I took some very close up shots of the surface creating a different visual interpretation of the wall works some of the results I have posted here in groups. Click on the images if you wish to see them a little larger than posted of the blogspot. There is also a link to a slideshow detailing the individual works at the end of this post.

"Out of Line"  March/April 2011      slideshow link https://picasaweb.google.com/112411916742433184011/OutOfLineDetailView2011?authuser=0&feat=directlink

Preview of recent exhibition at SNO Centre in Sydney May 2011

Taking some time off from my studio works I was pleased to be offered this exhibition at SNO CENTRE in Sydney. A space that has extended me some of the strongest support and willingness to show my artwork to date through exhibitions and inclusion in their recent SNO Catalogue, a publication previewing exhibitions from the commencement of SNO in 2005 through to 2010. Its always difficult to show my artworks in Melb because of the physical demand of setting them up and the fact that usually I am on my own that problem is doubled when I have to do the same thing interstate. I took that factor into account when I accepted the offer to exhibit at SNO because I had previously attempted a number of times to realise this artwork in Melbourne unfortunately with no response. I am able to post some images of the exhibit thanks to Suzie Idiens one of the very helpful gallery staff who documented the show for me while I was there and I would also like to acknowledge thanks to Sophia Egarchos for their efforts in the running of the gallery.

The following images document the installation A Series of Moments exhibiting at SNO CENTRE,
gallery 2, May 7- May 29, 2011. Acrylic wall work, digital images, dimensions variable.
Photo credits Suzie Idiens.



A Series of Moments installation view detailing  the position of digital images. May 2011





Detail view of digital images. May 2011





A Series of Moments installation view detailing digital images combined with acrylic wall work that shows gallery 2 repainted in a grey toned hue with featured sections in clear gloss acrylic. May 2011





Detail view of transition between digital images and further detail of acrylic wall work. May 2011





Detailed close up of digital images. May 2011



Time to reflect and consider the next project

Well the first show is nearly over and its certainly nice to walk into my studio space and revisit the current work on display. During my last visit I started to consider what installation I would like to create next in my studio. For now I will post a few images that will sample some the direction of my next works for studio 1 projects.

The above images document small proof works that I created early in 2010 using masking tape and painted paper. They are the first works to be created after the completion of what was an intense two year studying period completing a Master of Arts, Coursework program in 2009.

For me these works were a continuation from the previous body of work, testing the waters on my own so to speak. Putting into practice the methodology of creating my artwork similarly to the methods I adopted at Uni during the Masters program. They remind me of how I felt at the time a few months after finishing Uni I experienced real difficulties making sense of things something that still continues to some degree now, perhaps that is not supposed to go away who knows. I also realised at this time that above all else for me the artwork is the most important it subsumes all other aspects of my art practice and is the core issue for developing and carrying through this series of artworks in my studio space through the studio1projects. I find it strange how the mind works though at the time I could find no order in my thoughts I still remained with an intense drive to make my artwork and at this future point in time I certainly look forward to working with these formats in a large scale installation for my next studio 1 project completion I aim to be July at this stage.

Documentation of 'Out of Line' exhibition Mar/ April 2011

The following images document the current show "Out Of Line" installation and individual views.

The work is painted directly on the wall with acrylic paint.the dimension of the space measure 7m x 4m. Each individual piece measures 2m x 2m.