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Artist Statement 

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The objects are frozen in a persistent state of flux; splattered pigment evolves over time. The fluidity of the cascading plaster is halted causing a brittle, crumbly, tenuous state which, if shattered, would require reconditioning into a fractured object. Gushing from the cast tube, extruding over the readymade moulds, the plaster was bent, twisted, and forced into unique shapes by my own bodily movements. Once removed from the moulds, they created delicate, fragile forms. These structures became more elaborate layering and uniting to establish oversized painterly objects.

Throughout all my investigations from Exploding Process to Vertical Disinteragation I thought about how far I could push the material and process by making bigger painterly objects, enquiring how I could add colour, while using my own home-made piping tools, letting the material lead me. My move to abandoning the material paint gave me a greater field in which to continue my investigations. Although I have left paint itself behind, I have not left the process of painting. It took a while to get the consistency of the plaster to water ratio right, especially when pushing the plaster to even bigger sizes. The plaster was too thin to hold the shape of the nozzle, which you can see in the week 10 exhibition Little Mistakes. 

 

I have intertwined Rachel Harris’ use of plinths, how they are part of the work as they are not only there to hold the work, but they become part of it.  I tried to view my work through Neal Rock’s lens as he recognises himself as a painter, but he contradicts that by using silicon as a form of paint. I took ideas from Christina Mackie's Tate Britain exhibition because of her use of colour development similar to Anton Alvarez's process of pushing wet clay through a hydroelectric machine and the way he mimics the colours in his work to match the plinths. I considered looking at the viewers’ perspective through Nina Canell and Marcel Duchamp where the viewer can see the states changing before them or the confinements the viewer is restricted by to see the work.

 

Through further contextual research, I can ground my art practice under different terms, one of which is ‘Expanded Painting’, a term which Mark Titmarsh used to describe painting that has expanded from another way of naming a multi-modal practice.[1] This is the term that my studio practice concerned itself with when experimenting with piping relief oil paint on to bed sheets and MDF. This process developed further into the piped oil painting becoming an object itself being used as ready-mades onto what it is now a growing process utilising plaster. 

 

In changing my process, I questioned whether ‘Expanded Painting’ was the correct term for my studio practice to be defined under and moved on to researching ‘the Post-medium condition’. Rosalind Krauss created this term where no studio discipline can be differentiated from any other. Krauss states ‘If one is questioning the nature of painting, one cannot be questioning the nature of art. That’s because the word art is general, and the word painting is specific’[2] The medium can act as a support for the artist in the way the canvas and stretcher supported the image in traditional painting. 

I’ve brought these two terms together, creating my own practice where I do not come under either of them; I do not need to. Now I incorporate questioning how I can install the works, the biggest question being what I display them on and how much of it I want to be part of the work. These queries will forever be interchanging.

[1] Titmarsh, Mark. 2019. Expanded Painting: ontological aesthetics and the essence of colour. London: Bloomsbury Academic. 12.

[2] Krauss, Rosalind. 2000. "A voyage on the North Sea”: art in the age of the post-medium condition. London: Thames & Hudson. 10

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Graw, Isabelle, and Ewa Lajer-Burcharth. 2016. Painting Beyond Itself: The Medium in the Post-medium Condition. Berlin: Sternberg Press.

Krauss, Rosalind. 2000. "A voyage on the North Sea”: art in the age of the post-medium condition. London: Thames & Hudson.

Krauss, Rosalind. 1979. “Sculpture in the Expanded Field.” October (MIT Press) 8: 30-44.

Krauss, Rosalind. 2013. Perpetual inventory. Cambridge, Massachusetts : MIT Press.

Titmarsh, Mark. 2019. Expanded Painting: ontological aesthetics and the essence of colour. London: Bloomsbury Academic.

Titmarsh, Mark. 2006. “Shapes if Inhabitation: Painting in the Expanded field.” Art Monthly: Australia 27 - 32.

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