World Like This

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. image 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.

image

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. image  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. image 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. image    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.

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About nameerdavis

I'm drawn to the crowd and the culture it foments.
This entry was posted in crowd formation, information processes, Lyon, public space and tagged , , , . Bookmark the permalink.

5 Responses to World Like This

  1. Glen says:

    Nameer, I really enjoy being drawn to explore your work visually, Incrementally and only then do scroll back to read your thoughts which reinforces the experience and is satisflying. You must love creating these works. I ‘make’ first and only then do I struggle to words to better understand what I have been inspired to paint. I wonder if it is that way for you. Thanks,Glen

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  2. nameerdavis says:

    Thanks for your response Glen – yes the paintings evolve from each other and the process takes on a reality of its own that is quite independent of the references I’ve written about. However as there are triggers from experience outside the studio often acting as catalysts for decisions, it seems important to describe something of the tension between the world and studio that generates the work.

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  3. Tim says:

    Loved it Nameer,
    Would like to come to a viewing
    Tim

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  4. Maurice Brookes says:

    Best of luck with the new show, from virtual viewer in the UK

    Like

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