Currently the work I am producing involves the production of television
images in the medium of paint. In this work television images are
translated into the paint medium and as such are introduced to the
tradition of painting. On the one hand this involves the traditional
materials, canvas stretchers, gesso grounds, pigments and oil mediums,
techniques of under painting, blending, layering and so on. On the
other hand there is the tradition of the values that painting has
observed in its own progression. Spatial relationships, the integrity
of the paint as its own representation. In particular the values
that modernist painting made so blatant. In this sense I am interested
in the schism that occurs in the loss or gain of translation. Where
the piece ceases to be a broadcast image and yet as a painting it
has no construction. There is no building or drawing. It exists
as an execution of colour and paint without a construction of imagined
form. The space that occurs on the canvas is immediately explicit.
In a way its as though the image has been broadcast and has been
picked up by a painting. It’s worth noting that within the
images as formal arrangements of colour there are the representations
of icons of television and cinema. Images of the shows and films
of my youth are those, which most frequently appeal to me, while
this is not the criteria for the selection of the images. In this
way another translation occurs. That of low art to high art. Populist
consumerist icons invade the elitist specialist space of painting.
As an issue at this time this is probably corrupt and redundant.
However like all of the issues mentioned, it is present to some
degree. With all of these as pieces of information or justifications
what exists are: slightly naïve executions of iconic images.
Like the small boy who renders a copy of his favourite Star Wars
poster. All this and nothing more.
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