Due Respect to “Surface”
This is what my Artist Statement will discuss.
I am a painter and have noticed that those elements that endure throughout the act of painting need not necessarily include Brush, Paint, or Canvas. Although within my ‘painting’, they are always featured.
As we get more and more used to commercial media imagery how does one make Art that bewilders aesthetically when the commercial sector are getting most proficient, not only in their well established mimicry of Art and Film, but can actually surpass our endeavours with the help of their growing experience and huge budgets, that back each and every image? Drenching our vision 24 hours a day. Combine this with the speed of a mobile text, remote control with 300 channels or broadband internet. This work does not condemn the world today but certainly gives a solid altenative.
I feel Artists try sometimes to compete with ‘The Commercial industries’.
I wanted to compete on a wider scale, with the Renaissance painters, or the Abstract Expressionists, or the 50s Conceptualists, by using Respect: to the surface and to the image and to the history of art, with imagery that is nearly pointless to mimic and near impossible to reproduce because the image is based on a happening and obsessive painstaking activity, and exhaustive research and energy in the execution of the work, and those who understand it will feel that this conceptual, Art Povera-Painting. It will bore, excite, inspire, anger or pass by silently but, I think that the work is quite rare in a contemporary scene.
My 2 dimensional persuasion has informed and coerced every element of my creativity henceforth.
I have painted, made installations, made 2 feature films, initiated and organised site specific happenings (as seen on CV) but all works are concerned with or based on an ‘image’ and/or the ‘surface’.
· If I can clean a stripe to divide an old office in two (Vane 98 Group show), the issue of taking away a layer of grime or dirt is as strong as adding a titanium white to a painting. If not a stronger gesture.
· Adding a tiny line to every tooth of weave of a canvas, microscopically and meditatively scans over a canvas until every square millimetre is covered.
· Hand-writing fragments of philosophy until 100,000 words have been read, understood and transcribed onto paper, end to end, leaving very little space until 81 pages can be assembled into a huge page of tiny writing, deals again with surface. (Jacques Derrida has personally sent hand written permission allowing me to use 6 of his conclusions within the piece.)
My film debut ‘The Veranda’ which was awarded Best Foreign Feature at the Los Angeles IIFF, was shot with a very static painters cinematography, while including certain ‘Real Site Specific Art’ within it’s fiction. (See also CV)

Works in Progress or Future Projects

Previous series of Painting