August 2015, I’ve been working on the forthcoming show of paintings single-mindedly; this post provides a preview and context for a set of works whose origins date back to my 2013 residency in Lyon France, to which this blog is dedicated. A13 synthetic polymer on woven polyester 101cm x 122cm
The crowd, whether mob or multitude is an assembly of people. In these paintings (and this blog) it’s an untraceable form, spatial in nature, a shifting precipice edged by the energies between people where gaps are constantly opening and closing. This shuttering lends the crowd an implied verticality, happening upon cliffs and canyons.
Fast Track synthetic polymer on aluminium 240 cm x 60 cm
I was walking on a hill high above a football field with teams practicing. As players weaved towards me into lower right vision they seem to turn on their side, as if that area has become flattened, bowed out and held in a schematic space. Severance synthetic polymer on aluminium 240cm x 60cm
The Jacquard loom (invented in Lyon) fed information via punch cards to the thread lifters in time with the shuttle. The space between the lifted and bedded threads is shallow, just a few centimetres, but enough to contain the information flow of coded patterns woven forward and reverse; mirrored and disintegrating. loom synthetic polymer on woven polyester 137cm x 122 cm
Painting based in experience offers a corrective view of its subject; as Julian Barnes writes of Courbet, the world is ‘not like that, it’s like this’. The aluminium panels in this show shape up as figurative constructs. A physical architecture in which the viewer and groups and crowds have a structural role in holding the space together. Somewhere In London synthetic polymer on aluminium 240 cm x 60cm
Waiting in a public space for someone, scrutinizing the passing. Refine and exclude. Repeat. Again. These differential sifting skills are ways of paying attention, creating models in much the same way that memory palaces once functioned. I look, and you are there.