Since 2004, I have been developing the idea that a different kind of aesthetic is created when events are deployed on a curved canvas (rather than a flat ‘two dimensional’ plane). The marks created in this way take on the form of the geometric profile. So when they are unraveled and stretched-out to the two dimensional picture plane, the aesthetic emerges.
I call this approach Membrane Art. As it is the curved profile of the surfaces that underpins the development of each artwork. An aesthetic thought that I continue to evolve.
This allows me to engage with the work as a three dimensional object (like a sculpturalist). Including working on the inside and outside (back) of the canvas at the same time. Achieving reciprocal marks as one expression.
However, unlike sculpting I’m always thinking about the relationship between painting and how we observe, rather than the interplay between solid and space. So the key part of my work is to return to the flat two dimensional picture plane to generate the human visual experience — observation.
An aesthetic that is deeply rooted in the present context of a ‘multi-dimensional’ universe and the way nature itself could be.
Just one of my pieces that may be exhibited at Little Bang Brewing’s new exhibition space. Details to come.
In the 1950s and 1960s, Lucio Fontana gave us a new and radical concept of space. His gestural expressions of ’buchi and tagli’ (holes and cuts) called for a new art form that reflected and responded to the present-day’s understanding of space and time — he called this work ‘spatialism’. Especially with his sharp edge cutting of the canvas, for which he is famously known, he was able to show that you can extend the 2D object into a 3D conceptual one. His work created an image through the direct engagement of both the canvas’s physical properties and the space that exists around it. At no stage did he call what he was doing…painting. It was a ‘spatial concept’ with the objective of forcing us to think about the role of the surrounding space.
Today, as we try to grapple with our understanding of the cosmos, what I call ‘Quantum Brushstrokes’ aims to reflect our times but may in fact be an extension of Fontana’s idea. However, what distinguishes my work from his is that the mark-making events have been prominently created on curved structures. That is, all my works are structurally created in the 3 dimensional form before I bring them back to the two dimensional flat picture plane we now observe. So rather than the surface exposing time and space, I’m tying us to it. By creating reciprocal markings, distinct cavities develop, akin to an echo, that could not be achieved unless some sort of curvature construct was involved.
So when you observe any of my works, even though the geometric conditions may have change form, you can never alter their uniqueness nor their fate to remain tied to the two dimensional reality of the picture plane. A truth about the human condition — that we are trapped on the edge of a 2D universe yet entangled in all its probabilities in the vastness of infinite space.
Distinct and reciprocal cavities develop when mark making events are created on curved structures. So that when it is transformed to the flattened observed form, a truth about the human condition emerges – that we are tied to a 2D universe yet entangled in all its probabilities in the vastness of infinite space.
This double-sided framed sculpture will go on display at my coming exhibition at Little Bang Brewing (25 Henry Street, Stepney, South Australia). Details to be confirmed.