The Unbent Curve

Malcolm Koch presents The Unbent Curve, an exhibition exploring the boundaries of structural form and surface tension. Created entirely in a curved state, Malcolm’s oil paintings and copper sheets endure immense physical stress while undulated or rolled.

This literal tension alters the behaviour of the tools, mediums, and chemicals used, fundamentally reshaping their surfaces. By applying marks, making saw cuts, and triggering chemical reactions in this restricted state, Malcolm allows time to act as a primary medium.

Once unfurled and flattened for observation, the works reveal striking, unexpected patinas and fluid landscapes—proving that flattening the surface is the very act that brings the curve to life.

Only when the work is finally unfurled and flattened for observation is the final state revealed—leaving behind striking patinas and fluid landscapes that hold the permanent memory of the curve.

  • Exhibition: The Unbent Curve by Malcolm Koch
  • Location: 44 Nelson Street, Stepney, South Australia
  • Run Dates: 1 August–31 August
  • Hours: Monday—Friday, 10am—5pm (or via private appointment)

Meander Flat is an artwork made of copper that is visible from both perspectives, but not at the same time.

About Meander Flat

Conceived and executed entirely within a restricted, curled state, Meander Flat explores the boundaries of structural form and surface tension. By forcing the canvas into tight folds, the material endures an immense physical stress that fundamentally dictates how tools, mediums, and chemistry interact.

By applying marks, saw cuts, and interconnecting holes—and triggering chemical reactions while the work was bent—the physical boundaries between the front and reverse sides are completely dissolved. Accordingly, this shared DNA erases the traditional priority of an “obverse” or “reverse” surface, empowering the viewer to decide where the artwork truly begins.

Once unfurled and flattened for observation, the work reveals a striking patina anchored by a solid, central wave—proving that the curve is born the moment the material is returned to the flat plane.

The Unbent Curve Exhibition features the illuminated copper artwork Reductionism.

About Reductionism

This work is a two-dimensional map of a three-dimensional event. Created while the copper sheet was coiled in a cylinder, a single series of drill strikes pierced through the layered metal, creating a synchronised network of voids. When unfurled, these points of impact align into two rigid vertical pillars—a visual order born from a hidden, circular geometry.

The copper artworks Chemical Weave and Unified Pulse are on display at The Unbent Curve exhibition.

About Chemical Weave

Flattened into a 2D plane, the work provides material evidence of a curve that cannot be replicated through traditional application. The synchronised drill holes and mirrored patinas are artefacts of a 3D history—a permanent record of spatial tension and chemical time captured on a singular surface.

About Unified Pulse

This work explores the intimate bond between Australia’s cool coastal waters and its sun-drenched soils, mirroring the interconnectedness of the human experience. A visual rhythm resonates across the canvas; the inland pulse and the salt-sprayed sea are a single expression. As a result, there is no definitive line between land and water and no true separation between individuals.

The copper artworks of Smouldering Cosmos and Eucalyptus Oxidised are on display at The Unbent Curve exhibition.

About Smouldering Cosmos

Sharp-edged holes appear while softer ones recede. However, many of these marks are interconnected, including the oxidised waves. Formed as a single entity within a curved spatial construct, they appear separated on the flat image plane. The artist’s fingerprints are evidence of human involvement in the unfurling process. As a result, it creates a non-linear journey that challenges our observations and encourages a deeper process of reflection.

About Eucalyptus Oxidised

This painting explores the geological evolution of the Australian landscape. Through colour, texture and oxidised verdigris. It shows the deep, long-lasting bond between the mineral-rich layered earth and the living landscape. It highlights the continuous story of structural transformation. Linking the environment’s beauty to the rugged and weathered past.

The copper artwork Symbiotic Self is on display at The Unbent Curve exhibition.

About Symbiotic Self

This copper artwork looks at human nature by balancing deep inner convictions with fleeting daily moments. Its scratched, chemical surface represents daily chaos, rubbed back to reveal a path to our core identity. Interconnected from underneath, a tight structural curl echoes our hidden internal convictions that ground the marks to the natural curve. Now unfurled and suspended over silver mirrors, the complete system proves that every fleeting mark is vital to our collective self.

  • Exhibition: The Unbent Curve by Malcolm Koch
  • Location: 44 Nelson Street, Stepney, South Australia
  • Run Dates: 1 August–31 August
  • Hours: Monday—Friday, 10am—5pm (or via private appointment)

About the process

The Copper Project is a series of work created for my SALA Festival exhibition, 2024 (South Australian Living Artist Festival). Further evolving the distinctive expressive style of Membrane Art® – see Artist Statement. Although copper is a part of everyday lives, it has toxic properties that must be managed in a responsible way. To do this, I primarily use household products such as vinegar, salt and ammonia. Also, I minimise water usage and reuse chemical byproducts as much as practicable. Most pieces are coated with a micro-crystalline wax to slow and stop the oxidation process.

The human element

Since 2004, Malcolm Koch has been mark-making on curved structures. A blending point of art and science, where our quantum world meets classical mechanics in the most human way.

Coincidentally, as it may seem, this work, which he calls Membrane Art®, conceptually aligns with some artificial intelligence (AC) art generation. Especially in its focus on transforming complex, multidimensional processes into flattened, human-perceivable 2D visuals. This mirrors how AC interprets vast data to create coherent, emergent images from underlying patterns, creating a unique aesthetic from “somewhere else”.

Both explore hidden structures (like quantum fields or data sets) to generate art that feels familiar yet alien. Showing a “compression of depth” where intricate origins yield simple, impactful final forms.

Yet, the defining difference is human touch and feel.

Malcolm Koch’s “Membrane Art” does not conceptually resemble art from standard AC platforms because its beauty is not the product of algorithmic image creation. But rather a distinct, physical process involving a human artist’s contact with curved surfaces and space itself.

A close-up of Malcolm Koch’s Smouldering Cosmos shows fingerprints and handling marks that indicate the artist’s tactile interaction with the piece. Each mark, including the staining, was made in a three-dimensional spatial construct and then flattened out for viewing. Unraveling the metal to expose the work in its highly chemically active condition is directly responsible for the fingerprints.

Conceptual Parallels

  • Multi-Dimensional to 2D Transformation
    Koch uses curved surfaces (3D) to generate expressions, then flattens them to 2D, creating a unique aesthetic from the “unravelling”. AI algorithms work in high-dimensional “latent spaces” (complex data structures) and project them onto 2D screens, making abstract patterns visible.
  • Underlying Structures
    Koch’s “membranes” and “quantum brushstrokes” are guided by scientific concepts like electromagnetic fields, creating hidden structures. AI uses underlying mathematical structures (neural network weights and embeddings) to form images, often revealing emergent, unexpected connections.
  • “Something Else” Aesthetic
    Koch describes his marks as coming from “somewhere else”, a space where expression and sculpture unite, not bound by traditional rules. AI art often produces results that feel novel. Bridging styles in ways humans might not easily conceive, deriving from vast digital “somewhere else”.
  • Emergent Beauty
    Both processes generate an aesthetic beauty through a transformation of depth and complexity. A new visual language emerging from the process itself, challenging perception. 

Key Difference in Method, Similarity in Concept

  • Method
    Koch’s approach is physical and sculptural, using actual curved surfaces and paint. AI uses digital algorithms and data.
  • Conceptual Echo
    Both artistic methods conceptually reflect how reality (or data) can be represented in forms beyond immediate human perception. With the final work acting as a flattened glimpse into a more complex reality or dataset.

“Membrane Art” does not conceptually look like art from typical AI platforms, as its aesthetic is a direct result of a unique, tangible physical process involving a human artist’s interaction with curved surfaces, rather than an algorithmic generation of images.

Key Differences

Feature 
Malcolm Koch’s “Membrane Art”Typical AI Art Platforms
Creation ProcessMarks (paintings, cuts, drill holes, stains) are physically applied to a curved, three-dimensional surface (canvas or copper). This is then flattened for display. The curvature dictates the final, often unexpected, two-dimensional appearance.Images are generated by algorithms that analyse vast datasets of existing images and create new patterns and compositions based on text prompts or input parameters.
Aesthetic OriginThe resulting aesthetic is rooted in physicality, gravity, and the unpredictable interaction of materials with a curved geometry, which the artist describes in terms of quantum mechanics and the human condition of observing a “flat universe”.The aesthetic is based on statistical patterns and data synthesis. While complex, the process lacks the direct, physical, and often tactile origin of Koch’s work.
Human ElementThe work emphasises the artist’s physical, gestural response and interaction with the material in a “blind” fashion (as some marks are out of sight on the curved surface), leading to unique and often irreplicable results.AI art can lack a deep human or personal touch, as it is motivated by data and commands rather than the artist’s personal stories, emotions, or physical interaction with a medium.

Artist working notes

These notes below serve as a crucial guide, facilitating Koch’s navigation of space and enabling him to create aesthetically pleasing artwork from one piece to the next. They act as a roadmap, guiding him from the initial concept to the final execution of each piece.

These few examples may be self-explanatory. However, it is important to note that these notes were created for his personal reference. They serve as practical (analogue) procedures with tangible outcomes. The primary objective is not for others to comprehend them; rather, they serve as clues for the artist to achieve aesthetically desirable outcomes in his artistic journey. For instance, “In” represents the entry point, while “Out” signifies the exit point of the drill holes, one complete expression or “quantum brushstroke”, which are subsequently linked up by a line. While these terms and markings may be familiar to the artist, further clarification may be necessary if required.

Image showing the blueprint and working notes used to create this artwork
Quantum notes and thoughts

Conclusion

Malcolm’s artistic style is comparable and separate at the same time. Thus, the conceptual essence of “Membrane Art” and the aesthetic results of AI seem to fit our contemporary reality when combined. Understanding how human emotions influence art enables us to recognise the profound impact artists’ works can have on our modern lives, creating pathways for empathy and connection in a chaotic world where artificial intelligence (AI) will play an increasingly significant role in the future. We need to keep in mind that human creativity has and will continue to create art that predates computational data-driven aesthetics. Finally, Malcolm’s art aims to bring a greater sense of meaning to human endeavours through the expressive touch of three-dimensional objects that cannot reside alone on a flat two-dimensional picture plane.

About Malcolm Koch’s art

Malcolm’s abstract copper artworks are in a style that he calls “Membrane Art”. A working practice that is characterised by mark-makings on curved structures rather than on a flat picture plane. The surface geometry underpins the aesthetic of each piece. So the drilling, saw cuts, and patina (staining) processes were all developed through the practice of allowing the curved surface geometry to play a part in creating distinctive expressions before the transformation of flattening the profile. An aesthetic thought that he has been evolving since 2004.

Malcolm’s related published art papers: “Quantum Brushstrokes,” and “Quantum Brushstrokes – exhibition notes”, published on Academia

(https://www.academia.edu/35908699/Quantum_Brushstrokes),

(https://www.academia.edu/24646040/Quantum_brushstrokes_exhibition_notes_).

More information:
Malcolm’s work has had over 20 solo exhibitions and numerous group exhibitions, including at RiAus (FutureSpace Gallery), which had two exhibitions: Visual Entanglement in 2016 and Under the Surface in 2014. His work is in numerous private and corporate collections in Australia and overseas. He has been a three-time finalist in the Waterhouse Natural Science Art Prize. WNSAP–previously accepted entries, and a finalist in the Stanthorpe Art Prize, Milburn Art Prize and the South Australian Living Arts festival.

Motion personified

I’m honoured to be a part of the Motion Exhibition, which showcases 80 South Australian makers and designers for Adelaide Design Week, an event that aims to be a regular part of the calendar.

Click to see this painting in motion. Double Story No:1 by Malcolm Koch. Medium: Oil paint on JPP synthetic 905gsm. Double-mounted to a mm Tasmanian Oak wooden frame. Framed size, 78h cm x 103w cm.

Artist Statement

Whether you need to warm up or cool down, the choice is yours!

Not getting the whole picture in one go is part of the human condition. This work offers a glimpse of the whole — but we can only observe the work from one side at a time. Describing something that’s the same for both sides, regardless of which side you‘re on. Even knowing there’s another, there is a realisation that our inability to engage with its entirety is real. Nevertheless, it is through the inverse (reciprocal expressions) that truth is revealed — there are two sides to every story, yet, it is all one.

My abstract paintings feature mark-making on curved surfaces rather than flat picture planes. Once unfurled, these blind markings aim to reflect our natural environment. This non-linear journey challenges our perceptions and encourages a deeper reflection on nature and its processes. 

Motion Exhibition

Motion Exhibition
every*where: Adelaide Design Week
1/145 Franklin St, Adelaide, South Australia
Wednesday—Sunday, 20—24 August, 12—5pm

About Malcolm Koch‘s art

Malcolm’s abstract copper art works are in a style that he calls “Membrane Art”. A working practice that is characterised by mark makings on curved structures rather than on a flat picture plane. The surface geometry underpins the aesthetic of each piece. So the drilling, saw cuts, patina (staining) processes were all developed through the practice of allowing the curved surface geometry to play a part in creating distinctive expressions before the transformation of flattening the profile. An aesthetic thought that he has been evolving since 2004.

More information:
Malcolm’s work has had over 20 solo exhibitions and numerous group exhibitions, including at RiAus (FutureSpace Gallery) which had two exhibitions: Visual Entanglement in 2016 and Under the Surface in 2014. His work is in numerous private and corporate collections in Australia and overseas. He has been a three time finalist in the Waterhouse Natural Science Art Prize. WNSAP–previously accepted entries, and a finalist in the Stanthorpe Art Prize and the South Australian Living Arts festival.This entry was posted in Malcolm Koch, On display on  by Malcolm Koch. Edit This entry was posted in Exhibition, Malcolm Koch, On display and tagged Motion Exhibition Malcolm Koch, Edit

Milburn Art Prize 2025

I’m thrilled to announce my work, Still Unfolding, has been shortlisted in this prestigious Art Prize.

Still Unfolding by Malcolm Koch. Medium: Oxidised copper sheet. Coated with a micro-crystalline wax polish. Mounted to a 6mm wooden panel painted with Liquid Copper paint.

Artist Statement

My abstract paintings feature mark-making on curved surfaces rather than flat picture planes. Once unfurled, these blind markings aim to reflect our natural environment. This non-linear journey challenges our perceptions and encourages a deeper reflection on nature and its processes. 

Milburn Art Prize for Landscape

I see pictorial space as an inner landscape for the mind’s eye to roam; so it is not surprising if my paintings evoke the feeling of landscape. (I) know it is a mental projection but it is inherently delightful. While painting, I am issuing an open invitation for these illusions – or allusions – to enter. My conscious mind can be occupied with the making, and the unconscious can come up with its own surprises. John Peart

The 2025 Milburn Art Prize for Landscape reflects the evolving nature and aims of BIA to honour Paul Milburn, a much loved and respected tutor who began teaching in 1989 at BIA until his death in 2011. With this in mind we offer a prize of $10,000, along with approximately 5 highly commended awards of $1,000 each, awarded for a 2d artwork addressing the spirit of Paul Milburn’s legacy and John Peart’s musings on landscape as quoted above. Accepted media includes painting, drawing, printmaking, mixed media and photography.

We hope the Milburn Art Prize creates an opportunity for both established and emerging artists to bring a sense of surprise and openness to their interpretation of Landscape, while fostering an enriched dialogue between artists, community and arts industry.

Milburn Art Prize 2025

Metcalfe Gallery, Brisbane Institute Art
Exhibition is on 9 – 30 May, 2025

The winner for the 2025 Milburn Art Prize will be announced on 9 May. https://www.brisart.org/milburn-art-prize

About Malcolm Koch‘s art

Malcolm’s abstract copper art works are in a style that he calls “Membrane Art”. A working practice that is characterised by mark makings on curved structures rather than on a flat picture plane. The surface geometry underpins the aesthetic of each piece. So the drilling, saw cuts, patina (staining) processes were all developed through the practice of allowing the curved surface geometry to play a part in creating distinctive expressions before the transformation of flattening the profile. An aesthetic thought that he has been evolving since 2004.

More information:
Malcolm’s work has had over 20 solo exhibitions and numerous group exhibitions, including at RiAus (FutureSpace Gallery) which had two exhibitions: Visual Entanglement in 2016 and Under the Surface in 2014. His work is in numerous private and corporate collections in Australia and overseas. He has been a three time finalist in the Waterhouse Natural Science Art Prize. WNSAP–previously accepted entries, and a finalist in the Stanthorpe Art Prize and the South Australian Living Arts festival.This entry was posted in Malcolm Koch, On display on  by Malcolm Koch. Edit

Mark-making is blind

In reference to my mark-making approach, I was asked, “Why are you painting blindly when you can draft directly with your vision?”

Mark-making is inherently imprecise; nobody can be certain which atoms they are engaging with. When you consider things at that level, you realise that everything is just a rough estimate.

I compare the act of creating “art” to the moment when memories, thoughts, and instinctual or primal desires come together to form a single, cohesive reality. My artworks are created in three dimensions, even though we perceive reality in two. The depth we believe we can see is merely an illusion constructed by our minds. I focus on the two-dimensional visual plane because it encapsulates a profoundly human experience – revealing a truth about how mark-making is blind.

Recent copper pieces in detail, with the marks structurally bound to the surface by the drill holes and patina.

If the marks had just been made on a ‘level’ surface, they would not have seemed so structurally bound.

The value of the aesthetics is often only discovered at the point of observing the unfurled flattened image …

… so, that evolving the aesthetic language can occur naturally over time.

Singulart interview

Singulart, a Paris-based, online contemporary art shop, recently interviewed me about my artistic journey. You can read the interview via the link below:

https://www.singulart.com/en/blog/2024/10/31/malcolm-koch-creative-spotlight-sfa/?utm_medium=email&_hsenc=p2ANqtz-8aklKPp27nFJjha2IMr5hSc5Gjn0Ixwa1heKLzgq6_pfrmbCzmlLvXN-FVgU0s9ae_ldb_JXH6J1r-nJYCk-F2DZsR6g&_hsmi=335521653&utm_content=335521653&utm_source=hs_email&fbclid=IwY2xjawHxiHpleHRuA2FlbQIxMQABHcbPWlVz7vj4js5fH2UgqTT_s2n8JWgGDyCIdeFiob0wZ7VSEowAGJgbmA_aem_4OJf-f6_v0XMQyhRl9u6tQ

About Malcolm Koch‘s art

Malcolm’s abstract copper art works are in a style that he calls “Membrane Art”. A working practice that is characterised by mark makings on curved structures rather than on a flat picture plane. The surface geometry underpins the aesthetic of each piece. So the drilling, saw cuts, patina (staining) processes were all developed through the practice of allowing the curved surface geometry to play a part in creating distinctive expressions before the transformation of flattening the profile. An aesthetic thought that he has been evolving since 2004.

More information:
Malcolm’s work has had over 20 solo exhibitions and numerous group exhibitions, including at RiAus (FutureSpace Gallery) which had two exhibitions: Visual Entanglement in 2016 and Under the Surface in 2014. His work is in numerous private and corporate collections in Australia and overseas. He has been a three time finalist in the Waterhouse Natural Science Art Prize. WNSAP–previously accepted entries, and a finalist in the Stanthorpe Art Prize and the South Australian Living Arts festival.

Stanthorpe Art Prize, 2024: Malcolm Koch finalist

I’m thrilled to announce my work, From The Ashes, has been shortlisted for this prestigious art prize. The Stanthorpe Art Prize is an Australian national prize open to all artists in 6 various categories, including 3D composite.

From the Ashes. By Malcolm Koch: 63h x 113w x 4d cm
Drill holes and oxidisation on copper sheets. Coated with a micro-crystalline wax polish. Mounted to a 3mm aluminium composite panel with 9mm spacing. Shadow-boxed frame.

Artist Statement

This piece uses oxidised staining and interconnected drill holes to create a textured atmosphere that refers to a harrowing bushfire event. Each sculptural mark conveys energy through the interplay of shadows and puncture marks. A total of ten waves of expressions are present; one set of the nine expressions is reflected in the supplementary relief piece, which represents our sense of belonging. It is a reminder that we are able to rise above the desecration of a location.

Stanthorpe Art Prize 2024 Finalists

See all finalist’s work

Art for sale

https://www.singulart.com/en/artworks/malcolm-koch-from-the-ashes-1921060?campaign_id=1717

About Malcolm Koch‘s art

Malcolm’s abstract copper artworks are in a style that he calls “Membrane Art”. A working practice that is characterised by mark-makings on curved structures rather than on a flat picture plane. The surface geometry underpins the aesthetic of each piece. So the drilling, saw cuts, and patina (staining) processes were all developed through the practice of allowing the curved surface geometry to play a part in creating distinctive expressions before the transformation of flattening the profile. An aesthetic thought that he has been evolving since 2004.

More information:
Malcolm’s work has had over 20 solo exhibitions and numerous group exhibitions, including at RiAus (FutureSpace Gallery), which had two exhibitions: Visual Entanglement in 2016 and Under the Surface in 2014. His work is in numerous private and corporate collections in Australia and overseas. He has been a three-time finalist in the Waterhouse Natural Science Art Prize. WNSAP–previously accepted entries, and a finalist in the Stanthorpe Art Prize and the South Australian Living Arts festival. This entry was posted in Malcolm Koch, On display on  by Malcolm Koch. Edit

The Copper Project

The Copper Project is a new series of work created for my SALA Festival exhibition, 2024 (South Australian Living Artist festival). Introducing a number of fresh works on copper that have been developed over the last year. Further evolving the distinctive expressive style of Membrane Art® – see Artist Statement.

I worked on these copper pieces as three-dimensional objects. However, instead of thinking about how solid and space interact as a sculptor would, my intention is to go back to the “flat two dimensional picture plane.” Why?

Because of this, formulations are produced that require the addition of a curve in order to be considered plausible. Finally, when it is viewed on a two-dimensional flattened image plane (the switch from three- to two-dimensionality), a unique aesthetic emerges that appears to be more in keeping with how humans perceive the natural world: although we can only perceive in two dimensions, we are aware of and experience a world beyond our own.

The copper art showing the copper sulphate (blue) and sulphide (gray) chemical reactions set against a gold mirror
The copper art showing the copper sulphate (blue) and copper sulphide (gray) chemical reactions, set against a gold mirror.
Work on display: The SALA Festival exhibition by Malcolm Koch showcases a wall of copper art pieces.
Malcolm Koch’s copper artworks: The painting Collapsed Wave. Not a brushstroke is in sight. Instead, drill holes, saw cuts, and oxidised events are used directly to the surface in a curved environment. This makes it feasible to create distinctive markings that would not be possible on a flat surface.
Exhibition opening showing tree people looking at the art on display
Guests at the opening. Looking on at one of the oil paintings that is also on display: MA#5, oil on Belgian Linen.

The Copper Project exhibition

Malcolm Koch’s studio and gallery
44 Nelson Street (back entrance via steps)
Stepney, South Australia
Monday–Friday, 10am–5pm
Note; this is a working gallery. So, art will remain and evolve on display throughout the year.

About Malcolm’s Art

Malcolm Koch’s curved ‘canvases’ are worked on as three dimensional objects. However, rather than considering the interplay between solid and space as a sculptor does, his forethought is to return to the ‘flat two dimensional picture plane’.

Working in this way creates expressions that is only possible through the advent of a curve. So when finally, we do observe it on a two dimensional flattened picture plane (the switch from 5D to 2D), a different aesthetic emerges.

About Membrane Art and Malcolm Koch's CV

Download CV 2024 (10MB file)

@singulart @membrane_art @misfitbits

#art #abstractart #membraneart #contemporaryart #artgallery #artcollector #ArtMeetsScience

Thriving

Thriving painting hanging on a white brick wall
The painting, Thriving, hanging in Malcolm’s studio. Oxidised copper sheet (.55mm thick) with a mirrored backdrop, sealed with oil paint and a micro-crystalline wax.

Thriving is a sequence of punctured holes in either depressions or impressions, which are everything and nothing at the same time. They can be distinguished and linked by the ways in which light reaches their outer edges with varying intensities, bringing life and direction to the vacuum (soul) within.

Depending on the lighting and your position within the room, the silver mirrored backdrop that is visible through the holes reflects back to us this spontaneous reality. Making it more than just a painting.

Inspired by our environment
The expansive open spaces surrounding a city (mirrors act as lights), as well as a resting tree log, provide essential habitats for thriving ecosystems. I draw inspiration from the unique open areas that are an integral part of life in Adelaide. The interconnected drill holes and oxidised stains, resulting from chemical reactions, capture the dynamism and energy of the modern world. Representing movement across the landscape and, the memories and experiences I’ve had while playing with my teammates or participating in family events amidst the majestic eucalyptus trees. They serve as a reminder that things are forever changing.

About Malcolm Koch‘s art

Malcolm’s abstract copper art works are in a style that he calls “Membrane Art”. A working practice that is characterised by mark makings on curved structures rather than on a flat picture plane. The surface geometry underpins the aesthetic of each piece. So the drilling, saw cuts, patina (staining) processes were all developed through the practice of allowing the curved surface geometry to play a part in creating distinctive expressions before the transformation of flattening the profile. An aesthetic thought that he has been evolving since 2004.

More information:
Malcolm’s work has had over 20 solo exhibitions and numerous group exhibitions, including at RiAus (FutureSpace Gallery) which had two exhibitions: Visual Entanglement in 2016 and Under the Surface in 2014. His work is in numerous private and corporate collections in Australia and overseas. He has been a three time finalist in the Waterhouse Natural Science Art Prize. WNSAP–previously accepted entries, and a finalist in the Stanthorpe Art Prize and the South Australian Living Arts festival.

Copper art to the world

In collaboration with Austmine’s Copper to the World 2024, Malcolm Koch will showcase his latest series of copper art. This conference has grown to be one of the industry’s leading global copper events, and this year promises the future of copper shines brighter than ever!

Malcolm will have five of his copper pieces on display in the exhibition and entry areas.

The Copper [art] Project

In this latest series, Malcolm was inspired by the enigmatic beauty of copper sheets as a medium to express ‘Membrane Art‘. Every work starts out rolled up. They are essentially sculptured three-dimensional objects. Drill holes, saw cuts, and staining (chemically applied) combine to produce a distinctively textured landscape. The interaction of shadows, stained moments, and puncture marks is captured when the pieces are displayed open on a flat surface.

“This series is significant for my practice because it uses copper as a medium to give my abstract messaging a greater sense of strength and permanence.” Malcolm Koch

Each piece uses an oxidised copper sheet (.55mm thick) to create the work. By starting with a curled structure, reciprocating drill holes, saw cuts and patinas are employed. Once unfurled, some are layered on top using the internal structure as an essential component of the artwork. To slow and stop further oxidation, all artwork has been sealed with a microcrystalline wax polish or, in some cases, mixed in with transparent oil paints.

Copper art – close ups

Close up of the copper art that resembles the bark and knots found on an eucalyptus tree.
Quantum Forest No1 (close up): Image resembles the marking one might find on a eucalyptus tree. Copper art by Malcolm Koch, on display at Copper to the World 2024.
Copper art, resembling the scribbly gum moth larvae path on a eucalyptus tree
Scribbly Tree (close up): resembling the scribbly gum moth larvae pathway on a eucalyptus tree. Copper Art by Malcolm Koch, on display at Copper to the World 2024.
Copper Art by Malcolm Koch. Close up showing drill hole markings and a patina.
Scribbly Tree (close up): resembling the markings one might find on the branch of a eucalyptus tree. Copper art by Malcolm Koch, on display at Copper to the World 2024.

Copper to the World 2024

With its reputation as the world’s premier copper event, the Copper to the World conference & exhibition offers the most recent information and perspectives on a material that is vital to a sustainable future. South Australia is home to some of the world’s best – certainly Australia’s best – copper resources. It is no surprise that Austmine and the South Australian Government have collaborated to create this annual event. Following the remarkable success of the 2023 conference, this year’s conference has been expanded to two days, with the addition of an impressive exhibition floor, including Malcolm Koch’s copper art.

The South Australian Government’s commitment to leading the world in copper presents an opportunity for South Australia to leverage our abundant copper resources, supporting sustainable economic growth and addressing the global demand for this critical metal, indispensable for renewable energy and climate change mitigation.

Malcolm Koch in collaboration with Austmine’s
Copper to the World 2024
Conference & Exhibition
18 – 19 June 2024
Adelaide Convention Centre
Adelaide, South Australia

About Malcolm Koch‘s art

Malcolm’s abstract copper artworks are in a style that he calls “Membrane Art”. A working practice that is characterised by mark-makings on curved structures rather than on a flat picture plane. The surface geometry underpins the aesthetic of each piece. So the drilling, saw cuts, and patina (staining) processes were all developed through the practice of the curve. Allowing the curved surface geometry to play a part in creating distinctive expressions before the transformation of flattening the profile. An aesthetic thought that he has been evolving since 2004.

More information:
Malcolm’s work has had numerous solo and group exhibitions, including at RiAus (FutureSpace Gallery), which had two exhibitions: Visual Entanglement in 2016 and Under the Surface in 2014. His work is in numerous private and corporate collections in Australia and overseas. He has been a three-time finalist in the Waterhouse Natural Science Art Prize. WNSAP–previously accepted entries

The dual nature of making marks

Unique interconnections were established on a curved surface from what began as a clean sheet of copper. Now that the sheet is flattened out again, fresh connections emerge from the reciprocating punctures.

The resulting holes are nothing at all, but everything. The degrees to which light strikes their outer borders with differing outcomes can be used to characterise and connect them. Generating an atmosphere that ultimately fills the void with life and direction.

Duality of Marks: 106w cm x 56h cm x 3d cm, copper sheet (relief and counter-relief), mounted to 3mm aluminium composite panel with 5mm spacers. See video of art

Individual marks or a wave of marks?

The art piece shown above has a textured landscape. Created by staining and a network of interconnected drill holes of different sizes. Even if each sculpture mark may seem like an isolated expression, they are all connected. Energy is deduced from the interaction of the puncture marks and shadows as reciprocating emotions that flow in a wave-like manner (horizontally). It is possible to view the expressions as having a dual character, existing both as a mark distinct from other markings and as part of a wave of expressions.

Tapestry of expressions

Malcolm’s curved canvases are worked on as three dimensional objects. However, rather than considering the interplay between solid and space – as a sculptor does, his process returns to the ‘flat two-dimensional picture plane’ (the switch from 3D to 2D). When ‘expressions’ are multiplied in this way, they intertwine on the same plane (and the reverse side) with varying degrees of value. However, it is only when the results are unraveled and revealed on the two dimensional flat plane that co-dependent relationships become apparent. Thus generating the human visual experience – a metaphor for how we observe a world that is so much greater than ourselves.

Everything begins curled up

Starting with a curve

The art involves assembling a diverse range of network expressions into a cohesive whole. Therefore, the curve is critical as it provides the medium for expressions. In this particular case, life starts by rolling up a sheet of metal in such a way that the expressions can be networked. See video of the curling up process

Drilling on a curve

The drilling process is like a brushstroke made on a flat 2D plane. There is initial contact, movement across and then an exit off the surface. However, due to the fact that some of these expressions are made hidden from sight and in some instances on the other side (reserve side), the result is unique markings. Often resulting in relief, and counter relief marks, including clockwise and counter clockwise drill marks, along the horizontal line in a wave-like pattern. Hence, why I call this act a ‘quantum brushstroke’. See video of the drilling process

Unraveling the curve

At the point of creation, values are efficiently constructed in a reciprocating pattern. However, until the results are revealed on a flat surface for observation, there is no visual way of fully knowing if the expressions created have an aesthetic appeal – the reality of uncertainty meets the longing for certainty. This video shows the moment of revealing this art piece.

So, if you were to coil the artwork back up, you could follow the corresponding links again. This reminds me of FFT algorithms, which are used in everyday life to power signal processing and picture analysis. Where pictures are continually opened (uncompressed), closed (compressed), and then opened again (uncompressed). Still, we care more about what is in front of us than the disarray of how things came to be. Thus, the spectator’s experience is content consolidation with new clarity rather than the artist’s journey. Nonetheless, it is helpful to know due processes and methods as an artist who must always progress. Based on that interest, the connecting marks in the following illustrations are explained in more detail.

Observing the results on the 2D picture plane

When the expressions made in the curled up state are finally untangled and flattened out, what then becomes visually connected? As an example, the associated drill hole sets are displayed as follows:

The white pen indicates an individual drill hole expression, or a related set of drill holes that have reciprocated. This description pertains to the drilling direction that occurred when the sheet was curled-up. See video example
Copper sheet with drill holes
The connected set of drill holes (reciprocated expressions) are circled above in white pen. Also drawn, is a side view diagram of the curled up copper sheet. This shows the direction of the drilling into the layers. See video example
A sheet of copper with large drill holes in a row
The drill has now penetrated through to the inside of the curled up sheet. Intersecting two layers rather than the three above (five layers drilled in total).
Further drilling was done on a quarter turn of the curled up copper sheet. The inset diagram shows the direction drilled …
… and through to the inside and then out the other side, intersecting four layers in total. Due to the fact that some of these expressions are made on the other side (reserve side), the result is unique markings – relief, and counter relief marks along the horizontal line in a wave-like pattern. Furthermore, the unraveling process causes distinct spin directions to be evident in the flattened 2D form even though all drilling was done in a clockwise manner. View the notes I took at the Visual Entanglement show at RiAus: Quantum brushstrokes

Conclusion

For an artist who uses curves almost exclusively, the reality shift from three dimensions to two dimensions cannot be replaced by any amount of forethought. As a blind method of generating marks rather than the more typical act of seeing one’s activities, this becomes a tool for assessing and comprehending the state of being in the creative moment, which is basically all about emotion. Observing the aesthetic attributes of what worked and what didn’t typically produces the aesthetic values and appeal that, in theory, lead to aesthetic appreciation and initiate a subsequent phase of introspection or meditation.

Further reading: Science meets Art: Nature becomes clearer to the observer when you compress the depth – RiAus: Biological Membranes – Surface, Undulation And Interface

About Malcolm Koch

Malcolm’s abstract expressionist work is in a style that he calls “Membrane Art”. A working practice that is characterised by mark makings on curved structures rather than on a flat picture plane. The surface geometry underpins the aesthetic of each piece. So whether he adopts paint pourings, cracking, peeling, drilling, cutting, staining processes, etc. It is the practice of allowing the curved surface geometry to play a part in creating distinctive expressions. Before the transformation of flattening the profile. An aesthetic thought that he has been evolving since 2004.

Malcolm’s work has had numerous solo and group exhibitions, including at RiAus (FutureSpace Gallery) which had two exhibitions: Visual Entanglement in 2016 and Under the Surface in 2014. His work is in numerous private and corporate collections in Australia and overseas. He has been a three time finalist in the Waterhouse Natural Science Art Prize. WNSAP–previously accepted entries

The Copper Project – works on copper sheets

Membrane Art draws inspiration from the interactions between curved profile surfaces to play a part in flat-lying ones.

Membrane Art
An evolving expression

The following shows a process:

The connectivity of curved surfaces to contribute to the observed flat-lying appearance is the driving force behind the Copper Project. These pieces, which have been evolving since 2004, extend that concept to copper surfaces.

This displays the finished piece after it has been completely flattened out and attached to a support frame. The piece’s interconnected drill holes and staining produce a textured landscape, and each sculptural mark suggests energy through the interaction of shadows and puncture marks. It should be noted that every expression was created on the canvas’ reverse side, emphasising a distinct type of expression that arises.

Creating a different kind of abstraction is born out of a need to sculpturally define our multi-dimensional universe. It shows a world that we cannot observe directly, yet we know it exists. Therefore, the meaning may appear latent, but the premise and execution of the artwork are far from it. Like a particle that can appear in many places at once, reciprocal markings appear as unique expressions that provide content and dynamic relationships made possible through the use of a curve structure.

We are limited by our perceived reality — we remain trapped on the surface of a flat universe. Although we may try to ‘jazz it up’, overconceptualise and garner attention with meaningful issues, it is not what interests me as an artist. Rather, I prefer to allow expression to exist through provoking a different kind of beauty. To allow it to naturally manifest and contradict known assumptions.

– –

Open Gallery/Studio
Mon–Fri, 10am–5pm
Weekends available on request

The Copper Project
Malcolm Koch’s Art Gallery
44 Nelson Street (use back entrance via Malcolm Koch Design)
Stepney, Adelaide, South Australia
Malcolm 0419 864 987

See more on my Instagram account: Membrane_Art

SALA Festival 2022 – Entry number 117

Gallery showing paintings on wall
Membrane Art Gallery

SALA Festival

The South Australian Living Artist (SALA) Festival is a statewide annual event showcasing a range of artists throughout August. It was established in 1998 to promote and celebrate the many talented visual artists in South Australia. The aim was – and remains – to extend visual arts audiences and, as an umbrella organisation, to have a continued policy of inclusiveness, allowing all South Australian visual artists of any level and working in any medium to play a part.

Double Story exhibition

After several years of participation, this year Malcolm Koch’s exhibition will showcase a range of works, including his latest series called ‘Double Story’. The idea where one ‘expression’ creates many — intertwined within the same plane and its reverse side — with an equal degree of value. Being able to interchange to the ‘other’ side creates a co-dependent relationship from one to the other, which may be viewed as completing the experience.

That said. Not getting the whole picture in one go is part of the human condition. This work offers a glimpse of the whole. However, we can only observe the work from one side at a time. Therefore, describing something that’s the same for both sides, regardless of which side you‘re on, is a realisation that our inability to engage with its entirety is real. Nevertheless, it is through the inverse (reciprocal expressions) that truth is revealed. That there are two sides to every story, yet it is all one.

Malcolm's SALA guide entry
SALA guide entry number 117

SALA Festival 2022
1 – 31 August 2022
Mon–Fri: 10am–5pm

Opening event 7 August (Sunday) 12 – 4pm
RSVP mobile: 0419864987

Malcolm Koch’s art space
Visit Malcolm Koch’s personal studio and art space. See a range of paintings on display and stored on the premises.

Monday – Friday: 10am – 5pm
44 Nelson Street, Stepney
8362 2088 or mobile 0419 864 987

Online sales This entry was posted in Malcolm Koch on  by Malcolm Koch. Edit

Double Story series

This current series of work is formed by using the topography of the curved canvas. I apply what I call ‘quantum brushstrokes’ to make structural marks – which cannot be achieved on a flat picture plane.

Close-up of Double Story_No4 in transition to the other side (Double exposured image). Oil on synthetic board.

One ‘expression’ creates many — intertwined within the same plane and its reverse side — with an equal degree of value. Being able to interchange to the ‘other’ side creates a co-dependent relationship from one to the other which may be viewed as completing the experience.

That said. Not getting the whole picture in one go is part of the human condition. This work offers a glimpse of the whole. However, we can only observe the work from one side at a time. Therefore, by describing something that’s the same for both sides, regardless of which side you‘re on, is a realisation that our inability to engage with its entirety is real. Nevertheless, it is through the inverse (reciprocal expressions) that truth is revealed. That there are two sides to every story, yet it is all one.

Currently unframed, these oil paintings come with a framing solution. Please talk to the artist.

One side of Double Story No 6. Oil on synthetic board.
The transition to the other side.
The other side of Double Story No 6, with structural markings of an equal degree of value. Oil on synthetic board.

SALA Festival 2022
1 – 31 August 2022
Mon–Fri: 10am–5pm

Opening event 7 August (Sunday) 12 – 4pm
RSVP mobile: 0419864987

Malcolm Koch’s art space
Visit Malcolm Koch’s personal studio and art space. See a range of paintings on display and stored on the premises.

Monday – Friday: 10am – 5pm
44 Nelson Street, Stepney
8362 2088 or mobile 0419 864 987

Online sales

Slice of Life

Malcolm’s curved canvases are worked on as three-dimensional objects. However, rather than considering the interplay between solid and space, as a sculptor does, his process returns to the ‘flat two-dimensional picture plane’ (the switch from 3D to 2D). Working in this way creates reciprocal and distinct marks as a single expression. An aesthetic that is only possible through the use of a curved surface. So, when finally we observe them on a two-dimensional picture plane, a different aesthetic emerges. Demonstrating that past events don’t disappear but an alternative purpose and meaning eventuate in the transformation of flattening the profile from one environment to another – setting in motion a further process of deep reflection or meditation.

In the example below, ten ‘cuts’ appear on the picture plane. However, the truth is that only five single expressions were made at the one time. So one might ask, how is it that we can now see ten? The reason that this has occurred is because the surface geometry was in a different state when it was cut, i.e., it was curled up, so that two layers were penetrated at almost the same time. So, the flattening of the linen as we see it now happened after the event. Hence, how one mark may lead to many.

Slice of Life: Medium – Belgian linen, hand-sized with rabbit-skin glue on the reverse side, 100% cotton fabric colours, mounted to a professional quality frame.

What we observe

The raw linen (front) shows a row of 5 split open cuts at the top with another similar row below them. Appearing through each of the cuts are 5 brightly coloured fabrics, each lining up with their corresponding cuts.

The artist’s hand-sizing (rabbit-skin glue) on the reverse side aids in turning the split edges inside itself – leading the eye into the open spaces. Also, the broad brushstroke expressions made with the glue on the ‘back’ appear to seep through the linen fabric in places, a process of over-soaking, through to the front. This brings texture and reinforces the human expression.

Close-up of several cuts (splits) in the linen surface. The edges of the linen have turned inside itself. Leading the observer into the space created.

Coming events

SALA Festival 2021
1 – 31 August 2021 
Monday – Friday: 10am – 5pm

Opening event
Sunday, 15 August, 12–4pm

Malcolm Koch’s art space
Visit Malcolm Koch’s personal studio and art space. See a range of paintings on display and stored on the premises.

Monday – Friday: 10am – 5pm
44 Nelson Street, Stepney 
8362 2088 or mobile 0419 864 987

More about Malcolm Koch

Flatten the curve – the new normal!

Paintings on display in Malcolm Koch's art gallery.
Paintings on display in Malcolm Koch’s personal art space: 44 Nelson Street, Stepney SA.

About
Since 2004, Malcolm has been evolving this aesthetic thought: Creating events on a curved surface then unravelling it to ‘flatten the curve’. Only then is it complete for observation.

Malcolm’s curved canvases are worked on as three dimensional objects. However, rather than considering the interplay between solid and space as a sculptor does, his forethought is to return to the ‘flat two dimensional picture plane’ (the switch from 3D to 2D). Working in this way creates reciprocal and distinct marks as one expression. An aesthetic that is only possible through the advent of a curve. So when finally, we do observe it on a two dimensional flattened picture plane a different aesthetic emerges.

SALA Festival 2020
Visit Malcolm Koch’s personal studio and art space. See are a range of paintings on display and stored at the premises – by appointment only (to keep the curve flat!).

1 – 31 August 2020 
Monday-Friday: 10am – 5pm
Saturday-Sunday: 12pm – 4pm

Malcolm Koch’s art space
44 Nelson Street, Stepney 
8362 2088 or mobile 0419 864 987

More about Malcolm Koch

SALA Festival Program

_ _

Preamble
To me, Membrane Art is an open door to endless possibilities. Heavily dependent upon the geometric surfaces (nature) which underpins it. Yet, in the end, you never truly know what you’re going to be looking at until you unroll it (flat).

Recognising that the surface membrane creates the basic structure for the artwork is only the beginning. Results can either echo, connect and/or entangle themselves in ways that cannot be achieved in our flat dimensional world. It shows that the markings have come from somewhere else. Where expression and sculpture unite — which is why I consider this approach neither painting nor sculpture.

There certainly is a sense of freedom by working in this way. Creating a gestural response that is deeply-rooted in the present context of quantum physics yet not bound by its mathematical theorems, provides an artistic licence to explore.

On the foreshore — Brighton Jetty Sculptures, 2020

I’m proud to have two of my pieces, Close To Water and Quantum Sunray, selected to be included in this annual event.

Each year, Brighton Jetty Sculptures raises funds for the Brighton Surf Life Saving Club volunteers. On display for 12 days, don’t miss out on seeing over 200 sculpted works by many South Australian and national artists.

Entered under the newly developed category, Relief/Wall-hung Sculpture, I believe this describes what my work is about.

Patritti Brighton Jetty Sculptures
January 22 to February 2, 2020
Brighton Beach, South Australia
Open 8—8pm most days
www.brightonjettyclassicsculptures.com

Close To Water, detail.
Front on view: Close To Water, oil paint on JPP Synthetic, 905 gsm. Floating on silver acrylic-mirror strips and adhered to a 3mm back panel with 12mm spacers, 789h x 1072w x 40d mm
Square Root of an Expression (Quantum Sunray), detail, 824h x 732w x 40d mm
Front on view: Square Root of an Expression (Quantum Sunray), Oil paint on JPP Synthetic, 905 gsm. Floating on silver acrylic-mirror strips and adhered to a 3mm back panel with 12mm spacers, 824h x 732w x 40d mm

You will find my work in the large white marquee. Located on Bindarra Reserve, which is on the northern side of the Brighton Surf Life Saving Club.

My artist statement and description of the work

My curved canvases are worked on as three-dimensional objects. However, rather than considering the interplay between solid and space as a sculptor does, my forethought is to return to the ‘flat two-dimensional picture plane’. As this reflects our ingrained version of reality. That we are tied to a flat universe yet entangled with all its probabilities in the vastness of infinite space.

A different aesthetic is created on curved canvases

Helium Sculpture (contemplation side): A double-sided painting that can be hung either side. Why? Because structural expressions are made on both sides of the canvas at the same time.
Reverse side of painting reveals my working notes, processes and thoughts
Helium Sculpture (reverse side): This side reveals my working notes, processes and thoughts. Middle right side of diagram: This illustrates how reciprocal marks can eventuate on curled surfaces. Creating a network of emptiness (one expression) that when unraveled remain bonded to the flat two dimensional picture plane.

Curved canvases

Since 2004, I have been developing the idea that a different kind of aesthetic is created when events are deployed on curved canvases. Marks created in this way take on the form of the geometric profile.

The curved canvases are worked on as three dimensional objects. However, rather than considering the interplay between solid and space as a sculpturist does, my forethought is to return to the ‘flat two dimensional picture plane’. As this reflects our ingrained version of reality — that we are tied to a 2D universe yet entangled with all its probabilities in the vastness of infinite space.

I call this approach Membrane Art. As it is the curved canvas surfaces that creates the basic structure for each work of art. Only when it is unraveled and stretched-out does the aesthetic emerge as a network of expressions.

Membrane Art is inspired by the present context of a ‘multi-dimensional’ universe and the way nature itself could be. An aesthetic thought that I continue to evolve.

Helium Sculpture along with 9 other pieces are on display at Little Bang Brewing until August 15, 2019.

Mirrored Space Exhibition at Little Bang Brewing. A different aesthetic is created on curved canvases.
Painting or sculpture? See for yourself – Waterhouse Natural Science Art Prize™ finalists’ exhibition

The Quantum Brushstroke

Square Root of an Expression (Quantum Sunray) — Yellow On Silver Mirror. On display at Little Bang Brewery until August 15, 2019.
Square Root of an Expression (Quantum Sunray) — Yellow On Silver Mirror (Catching the light)

In the 1950s and 1960s, with his work on ‘spatialism’ Lucio Fontanta gave us a new concept of space. His gestural expressions of ‘buchi and tagli’ (cuts and holes) called for a new art form that reflected and responded to the current understanding of space and time. Especially with his sharp edge cutting of the canvas, 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. In a nutshell — he made us think about the role of the surrounding space. Lucio-fontana.

Rather than the surface exposing time and space. My work ties us to it. Firstly, by creating marks in a 3D curvature construct. Reciprocal and distinct cavities develop as one expression. These marks are only possible through the advent of a curve. So when finally, we do observed the results on a 2D flattened picture plane (the switch from 3D to 2D represents the collapse of ‘probabilities’), a network of emptiness emerges — reverberating as a mirrored envelope, reflecting our ingrained version of reality.

An aesthetic that is deeply rooted in the present context of a ‘multi-dimensional’ universe and the way nature itself could be.

Helium Bloom – Titanium White On Blue Mirror

Exhibition dates: August 1 — 11, 2019

Opening night:
Sponsored by Gatch Wine
6pm, Friday, August 2, 2019
RSVP Malcolm +61 (0)419 864 987

Detail showing the backing mirror reflecting. Photo Jamie Rose Photography.
Detail showing the backing mirror reflecting. Photo Jamie Rose Photography.
Helium Bloom – Titanium White On Blue Mirror.
Framed size 902w x 805h x 40d mm. Photo Jamie Rose Photography.
Malcolm’s reverse side working notes

Malcolm’s artist talk times:
Join me for an informal chat about the work — 
4pm, Sunday, August 4
4pm, Sunday, August 11

Venue: Little Bang Brewing
25 Henry Street, Stepney, South Australia
Thursday 4pm – 10pm
Friday 12pm – 10pm 
Saturday 12pm – 10pm
Sunday 12pm – 6pm

Art exhibition

Mirrored Space

White Helium Bloom (detail), Oil on JPP Synthetic, set off a blue mirrored back panel

A series of work that visualises a quantum world — sculptured on curved surfaces, then observed by us in a 2D picture plane. A network of emptiness (little bangs) that reverberates as a mirrored envelope, reflecting our ingrained version of reality.

Opening night:
Sponsored by Gatch Wine
6pm, Friday, August 2, 2019
RSVP Malcolm +61 (0)419 864 987

Exhibition dates: 
August 1 — 11

Malcolm’s artist talk times:
Join me for an informal chat about the work — 
4pm, Sunday, August 4
4pm, Sunday, August 11

Venue: Little Bang Brewing
25 Henry Street, Stepney, South Australia
Thursday 4pm – 10pm
Friday 12pm – 10pm 
Saturday 12pm – 10pm
Sunday 12pm – 6pm

The ‘nothing’ tied to the cosmos!

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. 

Here are a number of pieces that will go on display at my coming exhibition at Little Bang Brewing. Details to be confirmed.

Oil on JPP Synthetic, set off a blue-mirrored back panel with 12mm spacers.
Oil on JPP Synthetic, set off a gold-mirrored back panel with 12mm spacers.

One scorch mark tied to the cosmos

Scorched Echo Reflections, oil on JPP Synthetic, set off a blue-mirrored back panel with 12mm spacers, framed.

The aesthetic thought — use the membrane surface to create events in 3D curvature space (as a sculptor) then bring it back to the flat 2D picture plane for observation.

Echo Reflections

Oil on JPP Synthetic, set off a blue-mirrored back panel with 12mm spacers.

Just one of my pieces that may be exhibited at Little Bang Brewing’s new exhibition space. Details to come.

Preamble

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.

Helium Sculpture

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.

Aesthetic Poetry

My work is nothing more than mere expressions dancing on hollow nothingness; As the curved surface geometries changes form, you can never alter their uniqueness or their fate to remain tied to the two dimensional reality of the picture plane — a truth about the human condition — we are trapped on the edge of the universe yet entangled in all its probabilities in the vastness of infinite space.

Yellow Helium Bloom is one of my paintings that will be exhibited at Little Bang Brewing‘s new premises in 2019. Further details to come.

Yellow Helium Bloom by Malcolm Koch, oil on JPP Synthetic, suspended with 12mm spacers off a blue-mirrored backing panel.

Close up of a ‘drill hole expression’. As the drill bit cut the surface it scolds the edges of the cavity. Leaving behind a mark that shows anti-clockwise spin and reverse side entry. The blue-mirrored panel below reflects back to the viewer the ‘nothingness’ that has been created.

Destruction and creation are bonded together through a series of mark-making events that have been achieved in three dimensional form. So when the expressions are ‘opened out’ and observed on the two dimensional picture plane, they create distinct and reciprocal cavities that confines us to the surface — setting in motion a further process of deep reflection or meditation.

 

Quantum Brushstrokes at Little Bang

I’m proud to announce that Little Bang Brewery will host my art once they’ve settled into their new premises in Stepney. The exhibition is likely to be in early 2019 and will feature a range of new work exploring what I call ‘Quantum Brushstrokes’. Further details to come.

Call Malcolm for details: +61 419 864 987

Painting or sculpture? See for yourself – Waterhouse Natural Science Art Prize™ finalists’ exhibition

I’m honoured to be selected as a finalist in the Open Category of the Waterhouse Natural Science Art Prize™ 2018 for my piece ‘Oxygen Captured’.

This is the third time I have been selected as a finalist in this prestigious exhibition. My entry ‘Oxygen Captured’ represents a single oxygen atom. By representing this atom at a human scale, I hope it will highlight the precious qualities oxygen has for our existence. However, the below image is not the side you will see on display. It is intended as an insight into my ‘hole’ working method. Illustrating how I can work on both sides of the canvas as one ‘complete’ expression — an aesthetic I call Quantum Brushstrokes. And an Artistic Approach that I consider is neither painting nor sculpture.

Image showing the blueprint and working notes used to create this artwork. Front side is on display at Waterhouse Natural Science Art Prize.

The reverse side of Oxygen Captured: The above image shows my working notes. Although this side is not on display, it illustrates my working method. An approach that I believe creates works of art that is neither a painting nor a sculpture. Front side is on display at the Waterhouse Natural Science Art Prize™.

See for yourself — the front side will go on display, with all the other selected finalists’ works, at the Waterhouse Natural Science Art Prize™ finalists’ exhibition, South Australian Museum from June 8 until August 5, 2018.

‘I’m re-imagining our universe — entangled in the void of spacetime; As the image transforms from the three dimensional to the two dimensional form, it emerges free to endlessly stretch out beyond the limits of the flattened picture plane.’

Oxygen Captured

Oxygen Captured: Presented side on display at the Waterhouse Natural Science Art Prize™.

Malcolm’s Artistic Approach: Is it painting or sculpture?

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. Marks created in this way take on the form of the geometric profile, so that when the results are re-stretched to the two dimensional picture plane, the aesthetic emerges. I call this approach Membrane Art  — as it is the curvature profile(s) of the surfaces that underpins the development of each artwork.

Like a sculptor who works in three dimensional space, this approach allows me to engage with all dimensions, space and surface, including both sides of the surface. However, unlike a sculptor, when ‘painting’ in this way surfaces are partially, or completely, obscured from my sight. Also, unlike painting directly onto a flat picture plane, the flexibility of the curved canvas surface allows for reciprocal marks to result that cannot be achieved on a flat surface. However, the key is always to return to the two dimensional picture plane as this generates the human visual experience.

Why paint in this way?

Recognising that the surface membrane creates the basic structure for the artwork is only the beginning. Results can either echo, connect and/or entangle themselves in ways that cannot be achieved in our flat dimensional world — yet, in the end, you never truly know what you’re going to be looking at until you unroll it. It shows that the markings have come from somewhere else — where expression and sculpture unite — which is why I consider this approach neither painting nor sculpture.

Creating a different kind of abstraction is born out of a need to ‘geometrically’ define our multi-dimensional universe. It shows a world that we cannot observe directly, yet we know it exists. So the meaning may appear latent but the premise and execution of the artwork is far from it. There certainly is a sense of freedom by working in this way. Creating a gestural response that is deeply-rooted in the present context of quantum physics yet not bound by its mathematical theorems, provides an artistic licence to explore.

MA#41: Highly Commended artwork at the Waterhouse Natural Science Art Prize™

MA#41: My entry in the Waterhouse Natural Science Art Prize™ 2014 finalists’ exhibition was Highly Commended. 

Membrane Art holds true — regardless of whether the events made on the surface are painted, sprayed, poured, drilled, slashed, stamped, cracked or any other kind of mark-making. It is the curved nature of the membrane surface that creates the structural expressions for the work and, provided the work is presented in a flattened two dimensional form for observation, it is a consequence of the aesthetic thought.

Similar to the way things may appear in nature at the atomic level, we may not fully comprehend the methods and sequences that allow it to appear the way it is but it seems to form part of our inherent reality.

Painting today needs possibilities, to go beyond a rehashed post-Minimalist or process-based ideas from the ’60s and ’70s, and discover a beauty that it can call its own.

Here is my Artist Statement that relates to my entry ‘Oxygen Captured’ in the Waterhouse Natural Science Art Prize™.

The complex science surrounding the properties of a particle (ref. Atomic No.8) is fundamental to the formation of the conditions that promoted life on our oxygenated earth.

The constituent parts of an atom – protons, neutrons and electrons are represented by drill holes through a furled canvas (protons, neutrons) and sawn slashes (electrons). When the canvas is re-stretched to 2D form the drill holes and saw cuts create equidistant opposing “marks” within the white surface as in the inner vastness of atomic space.

The wave-like furling of the canvas, and the passage of drill and saw marks through it, when arranged in this fashion result in the kind of symmetry that is reminiscent of atomic structure and dynamic particle relationships that are the basis of all matter.

About the Waterhouse Natural Science Art Prize™.

The Waterhouse Natural Science Art Prize commemorates the birth of the South Australian Museum’s first curator, Frederick George Waterhouse. The biennial prize is an opportunity for artists to investigate the world around them, and present their perspectives on natural science. It encourages artists to make a statement about the scientific issues facing our planet, and offers a valuable platform for them to contribute to the environmental debate. Over the years the competition has become a much loved fixture on the arts calendar, allowing artists and audiences to explore natural science through a range of creative outlets. South Australian Museum – Waterhouse Natural Science Art Prize™.

Lithium-mesh_Malcolm_Koch_2016

Lithium Mesh: My entry in the Waterhouse Natural Science Art Prize™ 2016 finalists’ exhibition was Highly Commended.

More about Malcolm’s approach: Membrane Art: An evolving expression.

What started out as an investigation to find an authentic aesthetic manifestation of our natural world, particularly the way we observe it, has materialised into something more concrete, Membrane Art — a practice of allowing the surface geometry to play a part in creating distinctive expression and unfolding events.

The initial proposition was to fold, or undulate, a loose canvas (take it off the frame) and paint on it – then compress the depth by stretching the canvas back onto the frame (flat picture plane). The undulating membrane would provide a re-enactment of nature (containing multidimensional values). Something akin to the geology over glacial time frames that has determined configurations of landscape. The flat plane generates the human visual experience, a visual metaphor for how we perceive.

Events form and accumulate within the space over a period of time. Then by unfolding and recognising what happened it becomes an extension of ones cognitive ability to understand the geometric conditions and the state of materials that allowed such things to occur.

The discovery of this working practice showed him that he could transform the geometry of the canvas in its un-stretched form to the stretched. Furthermore, he realised that he didn’t just have to solely use the effects of gravity. With varying degrees of manipulation he could apply marks that either control paint flow, allow holes and cuts to be made (Quantum Brushstrokes discussion), or scrapings to form, or whatever action one chooses to apply. The actual membrane itself still underpins the aesthetics of each piece, although the degree of simplicity or complexity can be regulated and enhanced.

The impact of this work from the viewers experience is quite different. The viewer experiences the results of the work as a flat picture plane rather than an accrual of the method used. The aesthetic appreciation comes through the contemplation of each piece – setting in motion a further process of deep reflection or meditation.

For more information contact me or to see my artwork Oxygen Captured in the flesh, please take a visit to the Waterhouse Natural Science Art Prize finalists’ exhibition at the South Australian Museum from June 8 until August 5, 2018.

[ezcol_1third] 

Quantum brushstrokes
[/ezcol_1third][ezcol_1third]
 
Malcolm-Koch_Membrane-Art 2015_thumb
About Membrane Art_2016
[/ezcol_1third][ezcol_1third_end]

 

Recovering ten years of ‘Membrane Art’.

Thanks to Jacqueline Mitchell from Art Logic, a rental and sales service supporting local South Australian artists, six paintings have come out of hibernations, and are now hanging in unison at BRI Ferrier’s boardroom (SA) for the next four months.

BRI Ferrier is a unique affiliation of expert business recovery, insolvency, forensic accounting and advisory firms. They provide practical, innovative services that help financially distressed businesses to recover or at least minimise the negative impacts of insolvency. They also support South Australian artists, like myself, through a continual program of art rental rotations that span over ten years.

This exhibition represents a variety of styles and approaches, dating back over ten years to when I first started experimenting with creating events on curves — an art practice I call ‘Membrane Art’.  This is my first time exhibiting with BRI Ferrier and I’m happy with the way it has come together.

The interrelation of art and science.

I’ve just visited a wonderful exhibition at the Art Gallery of Ballarat: Eugene von Guérard and rediscovered a name I’ve long forgotten about, the polymath, Alexander von Humboldt. 

Eugene von Guérard like many artist at the time was inspired by Humboldt’s view that art and science is one and the same. This is such a wonderful exhibition of Australia’s colonial past. So glad to have seen it and the rest of the gallery’s impressive collection of Australian iconic art. It’s on until May 27, 2018.

Art Gallery of Ballarat: Eugene von Guérard exhibition:

Chilled-out at 1414 Degrees.

Thanks to Jacqueline Mitchell at Art Logic , a rental (and sales) service supporting local South Australian artists, this painting (MA#5) is hanging in the Chairman’s office at 1414 Degrees for the next six months.

1414 Degrees’ is a thermal-based energy storage system. What makes it unique is that it is clean, scalable, sustainable and therefore unlike any other energy storage system in the world. This breakthrough technology is set to disrupt energy storage globally because it provides energy in the form most used in the world – heat. So, I’m thrilled that they’ve selected my work. Check out their recent prospectus and website: 1414 Degrees

Drill holes & saw cuts on curls & waves

The above sequence shows how drill holes and saw cuts are produced on curvature structures ( a variant of Membrane Art that I call Quantum Brushstrokes). Similar to the way a brushstroke mark is made on a flat plane – there is initial contact, movement across and then an exit off the surface. 

In 2004, I began experimenting with the idea that I could open up surfaces and spaces to countless more perceptual possibilities by painting on a curve rather than on a flat 2D plane. The events created on the curved surface would re-enact the ‘completeness’ of our natural world, and when the results are unraveled and revealed on the 2D picture plane it might generate the human visual experience, thus being a metaphor for how we observe. Since, this approach has enabled me to evolve and develop a body of work that I refer to as Membrane Art. The key influence and structural basis of my art practice.

The Quantum Wall

Although incomplete and requiring further explanation, these drafts are just for a bit of fun. I’m trying to illustrate an aesthetic interpretation of how fundamental particles may have evolved in ’empty spacetime’ not flat but as a curve. A kind of proto general relativity phase that results in a quantum blockage/wall developing. Making way for the right conditions to form elementary particles within the manifold.

In 2004, I began experimenting with the idea that I could open up surfaces and spaces to countless more perceptual possibilities by painting on a curve rather than on a flat 2D plane. The events created on the curved surface would re-enact the ‘completeness’ of our natural world (particularly at the atomic scale), and when the results are unraveled and revealed on the 2D picture plane it might generate the human visual experience, thus being a metaphor for how we observe.

Since, this approach has enabled me to evolve and develop a body of work that I refer to as Membrane Art. The key influence and structural basis of my art practice.

Paint pourings on fixed undulations

Top: side-on view, Middle: top view, Bottom: stretched-out view:
The above shows what has happened when paint was poured on a wavy surface. Gravity allows the paint to define the form as it flows from the top (point of contact) to either side of the surfaces until it hits the base below. The stretched-out view (bottom image) starts the process of compressing the depth to generate the human visual 2D experience.

 

Oxygen captured

‘I’m attempting to discover a universe; Concealed in the endless possibilities of 3D space, yet confined to a flat picture plane that reflects our inherent reality’. Malcolm Koch

Malcolm’s Artistic Approach: Is it painting or sculpture?

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. Marks created in this way take on the form of the geometric profile, so that when the results are re-stretched to the two dimensional picture plane, the aesthetic emerges. I call this approach Membrane Art — as it is the curvature profile(s) of the surfaces that underpins the development of each artwork.

Like a sculptor who works in three dimensional space, this approach allows me to engage with all dimensions, space and surface, including both sides of the surface. However, unlike a sculptor, when ‘painting’ in this way surfaces are partially, or completely, obscured from my sight. Also, unlike painting directly onto a flat picture plane, the flexibility of the curved canvas surface allows for reciprocal marks to result that cannot be achieved on a flat surface. However, the key is always to return to the two dimensional picture plane as this generates the human visual experience.

Why paint in this way?

Recognising that the surface membrane creates the basic structure for the artwork is only the beginning. Results can either echo, connect and/or entangle themselves in ways that cannot be achieved in our flat dimensional world — yet, in the end, you never truly know what you’re going to be looking at until you unroll it. It shows that the markings have come from somewhere else — where expression and sculpture unite — which is why I consider this approach neither painting nor sculpture.

Creating a different kind of abstraction is born out of a need to sculpturally define our multi-dimensional universe. It shows a world that we cannot observe directly, yet we know it exists. So the meaning may appear latent but the premise and execution of the artwork is far from it. There certainly is a sense of freedom by working in this way. Creating a gestural response that is deeply-rooted in the present context of quantum physics yet not bound by its mathematical theorems, provides an artistic licence to explore.

Membrane Art holds true regardless of whether the events made on the surface are painted, sprayed, poured, drilled, slashed, stamped, cracked or any other kind of mark-making. It is the curved nature of the membrane surface that creates the structural expressions for the work and, provided the work is presented in a flattened two dimensional form for observation, it is a consequence of the aesthetic thought.

Similar to the way things may appear in nature at the atomic level, we may not fully comprehend the methods and sequences that allow it to appear the way it is but it seems to form part of our inherent reality.

Painting today needs possibilities, to go beyond a rehashed post-Minimalist or process-based ideas from the ‘60s and ‘70s, and discover a beauty that it can call its own.

Oxygen Captured image

Oxygen Captured by Malcolm Koch

Oxygen Captured by Malcolm Koch

Detail of Oxygen Captured by Malcolm Koch

Oxygen Captured by Malcolm Koch

On display – Oxygen Captured by Malcolm Koch

Quarks up and quarks down

Quantum brushstrokes exhibition
24 March — 23 April 2017

Tony Bond’s Gallery Space Upstairs
Edinburgh Castle Hotel
233 Currie Street, Adelaide
Mon-Fri 11am – 6pm
Sat 12pm – 6pm, Sun 1pm – 6pm

Artist talk times: Sunday 9, Sunday 23 at 4pm. Call Malcolm to confirm: 0419 864 987

Quantum brushstrokes exhibition

Art by Malcolm Koch
24 March — 23 April 2017

OPENING NIGHT: Thursday 30 March 2017
6pm—8pm

Tony Bond’s Gallery Space Upstairs
Edinburgh Castle Hotel
233 Currie Street, Adelaide
Mon-Fri 11am – 6pm
Sat 12pm – 6pm, Sun 1pm – 6pm

Call Malcolm to RSVP or for art talk times: 0419 864 987

Gustav Metzger’s legacy

Art like everything else repeats itself. So if we were to suppose that today we are about the cycle of 1960 (when the art market supposively went from strength to strength), then the question might be: What is the modern-day equivalent of Metzger’s ADA manifesto (an Absolute aesthetic idea) that can present a real alternative to the artworld of which he deplored? The answer may evolve through subcultures but it’s only through ‘Absolute aesthetic ideas‘ that provide the artist with a common philosophy or goal, so that he or she, or collective group, can bring about a sense of purpose and direction that may thrive once again outside the art market.

Metzger may not have achieved his ambition to smash the commercial gallery system. His legacy was his ability to inspire a collective consciousness in all things — an idea that I think still remains relevant today.

Gustav Metzger (10 April 1926 – 1 March 2017)

 

Network of quarks on blue

Experimental work on paper: The two trajectory paths of the strings followed a straight line in the curled up ‘complete space’ of when it was created. Now when we observe it on the 2D picture plane (human viewpoint) the strings appear to be networked differently. For more see Quantum brushstrokes

Quarks that spin ‘up or down’ — detail

Embossed quark hole showing the anti-clockwise spin direction of the membrane. Detail of Lithium mesh (bottom right – 1 of 3 holes).

Debossed quark hole showing the clockwise spin direction of the membrane. Detail of Lithium mesh (bottom right – 2 of 3 holes).

Embossed quark hole showing the anti-clockwise spin direction of the membrane. Detail of Lithium mesh (bottom right – 3 of 3 holes).

Lithium mesh: This painting/sculpture shows a number of drill holes and saw cuts. The bottom right set of 3 ‘quark’ holes (single quarks shown above) were all created at the same time or rather as one complete expression. Yet we may observe both ‘up and down’ qualities on the 2D picture plane. This is possible when the geometric state of the membrane is altered (curled) in a way to allow such events to occur before it is then unravelled to the 2D flat plane for observation – the principle idea behind Membrane Art. For more information see Quantum_Brushstrokes or Membrane Art.

Lithium mesh was highly commended at the Waterhouse Natural Science Art Prize, 2016. Synthetic polymer on JPP Synthetic, 566gsm, 1020w x 760h mm