Archives for category: painting

 

Interlock1

I painted this wall piece for our second year MFA interim group show in Catalyst Arts gallery last week. The exhibition ran from the evening of Thursday the seventh of January to Saturday the ninth. The wall was repainted white on Sunday. The piece is composed of the ‘double E’ shape I have been using recently repeated in an interlocking pattern. One side is the colour inversion of the other side.

I performed a sonic art piece on the night, where I played live drums along to pre-recorded simple drum patterns. These had been recorded with a metronome and increased in speed by ten beats per minute with each pattern. Each of the nine sections was exactly one minute long.

I limited drums used in both recording and performance to bass drum, hi-hat and snare drum. This minimal approach was in keeping with the minimal palette used on the wall. I wrote a set of rules that loosely governed what I would play for each section:

1, 80BPM Bass drum/stick clicks

2, 90 BPM Bass drum/snare rims

3, 100 BPM Bass drum/hi-hats

4, 110BPM Bass drum/snare (snare off)/hi-hat accents

5, 120BPM Bass drum/snare (snare on)/ hi-hat 16th notes

6, 130 BPM Bass drum/snare/hi-hat/snare rims

7, 140BPM Bass drum/snare (ghost notes)/hi-hat

8,150 BPM Bass drum/snare (note every whole beat)/hi-hat

9, 160 BPM Bass drum/snare/hi hat.

Here is a video clip of the last 3 sections of the performance. It goes out of time with what is played through the amp towards the end. I like the intense, polyrhythmic feel this creates.

The bass drum in front of the work: I tried documenting the piece in various configurations.

intermission 2

The piece with bass drum and amplifier.

intermission3

Advertisements

shape.jpg

I presented this painted black gloss shape on black matte wall at a recent studio critique. It was accompanied by this sound piece, played through a powerful stereo:

It was sufficiently loud that it caused objects within the room to vibrate.

The group discussion read the combination of sound and visuals as being oppressive and ominous, combining to create an atmosphere suggestive of religious cult rituals or sinister political gatherings.

It was felt that the work presented in this crit represents a departure from previous work. The black gloss symbol has nothing of the organic, gentle feel of the pencil drawings. It is extremely assertive and dogmatic; very oppositional and uncompromising in every way, to the point of feeling threatening. It suggests none of the time based creative process of the pencil drawing.

I am gradually assessing where I go from here. The shape is just an arrangement of painted lines, although I can understand why it was interpreted in these ways. I do feel that playing with sound and visuals with a certain charge and potency has potential, though I want to find ways to puncture the pomposity these signifiers carry, to promote recognition of their ultimate absurdity.

The wall turns black, ready for new drawings.

black

scored

I obliterated an old piece of work scoring with knives, drilling and gouging the surface. I like that it looks like the bi-product of  another process.

The same method has been applied to a piece of MDF primed with grey paint below.

scored panel 2

bones

This ‘difficult’ work was one of those that I gave up on and turned around to face the wall for about a month. When I came to look at it again I found I was more favourably disposed to it. The central image is a battleship. The dinosaur skulls were added later.

circle of leaves

I glued sand to the top part of this piece, it was inspired by decaying flowers.

le mer et de l'air

 

%d bloggers like this: