During 2017, my real-world painting has developed in two distinct directions. Both directions are code based (of course) and the first direction relies on liquid paint being drizzled over a rough surface. In these early outcomes, the rough surface is created by gluing shredded paper receipts to a gessoed panel. The colour coded stripes are then applied and the paint allowed (encouraged) to run. It seems a natural way to use paint to mix signal and noise.
The first part of a diptych made using a pair of reclaimed framed panels. I had recently been viewing a favourite painting, Like an Open Book by Howard Hodgkin, at the Ashmolean Museum in Oxford and these framed panels seemed ripe for letting the paint escape the panel and explore the frame. Exploring the primary and secondary colours kept the ‘code’ simple and allowed me to focus on getting the paint to run.
I enjoyed watching the paint follow the grooves in the frames. Rotating the frame for each colour allowed gravity to do its work. I didn’t force the outcome and cyan didn’t reach the frame. The fluidity of the paint being a critical factor in the outcome. I, quite literally, watched the paint dry.
For the 2017 Oxfordshire Artweeks exhibition at SOCA, I had my framer repackage Love Life by framing the two panels as if one painting. The noise created by the receipts being explored by the natural flow of the paint, from one panel to the next. They were painted one above the other as-if one panel, so this framing seemed natural. The horizontal presentation suggests a certain flow from left to right. Strengthening the connection with words and language.
More in part 2…