Dancer 2017 Synthetic polymer on raw linen 180 x 91cm

I’m currently working on a series of paintings in the studio and preparing for a site specific painting commission to be carried out in April.  The commission, over several walls will create a gallery in the lobby of a residential development; it brings together aspects of the grid-colour crowds and large figure and pattern work currently in studio. 

Census 2006 synthetic polymer on linen 120 X 180 cm

In Brisbane three  of my works are on show in different exhibitions in February.  One is a painting acquired by Tim Lynch ten years ago for Moreton Council on show at the Moreton Shire Gallery in an exhibition entitled Ocular Play; another, a drawing made as a game in collaboration with my nephew Leo,  and showing as a finalist in  the Jacaranda Acquisitive Drawing Awards at the Caboolture Regional Gallery. The latest painting to leave the studio is on show at the Brisbane Institute of Art. 

Leo Ahonen and Nameer Davis Exquisite Zombie 2016 charcoal and pencil on paper 76 x 54 cm

The shift in emphasis within the work is exemplified in these three pieces, the drawing was one of several from an afternoon’s entertainment;  this one shone out for its happenchance correspondence of shape and line that answered a requirement I’ve given to the current studio work- that something has to be altered by the repetitions of pattern and surface. The gridded system had been a way of denying aesthetic composition, but it became a closed frame, and the complex crowd is ultimately at odds with the unitary grid.

Change is essential to social appearance, In fact, David Antin says, it is only in process of change that the self becomes evident.  Narrative is an account of change, it requires the subject to have a stake in an outcome. Something calls the subject into play and there’s a mission in the process of Being grasped. 

The painting titled Dancer is one of a series translating fashion plate imagery and print collage into paint. In painting the image is like a plot, it makes things intelligible but also kind of redundant. That’s why, in modernist art, Form becomes the outcome of a call to play, because somehow in good Form lies a repetitive return to the act of transformation.  

About nameerdavis

I'm drawn to the crowd and the culture it foments.
This entry was posted in art, Contemporary painting, crowd formation, drawing process, fashion discourse, information processes, Performance, public space, screenplay, urban space and tagged , , . Bookmark the permalink.

3 Responses to Repair 

  1. ethel kojman says:

    Hi Nameer,

    As ever, delighted to get your news and see what you are doing.

    I’m so pleased to see a reference in your work to your nephew – which one?

    Any plans travelling north to us?

    I’m currently recuperating from an operation and taking my time to do that.

    Glad to have good news from you.




  2. james rogers says:

    Interesting post. Still trying to grasp a couple of things, perhaps the last line, ‘good form’. Still amazing grid painting. Don’t think I have seen it, and the drawings are potent, as drawn and as an evolving next step. I am seeing my painting as in need of another going over and I see some clues.

    Back from a couple of days in Syd where I showed Work in Progress to the gallery and then picked up Pearl. A couple of swims and now back to set up for school to start. The heat has returned again after a couple of mild days and back on the tools shortly. Got some perforations under way. J



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