MARCH 18, 2013
‘the shape distance’ [maps 5-8]
A greater confidence and liberation of gesture and colour are increasingly apparent as I continue my journey into painting to ‘capture’ moments in sound from my own compositions onto the two-dimensional surface of white-borads [at least, that’s the intention – the reality may prove rather more elusive]. You will need to judge for yourselves just how ‘musical’ these paintings are as it is difficult for me to be objective once the processes of assimilation [making the painting] takes over, all other concerns become secondary.
My intention remains pure enough, but the excitement of working with pigment, texture, colour and modeling form tends to dictate its own dynamic on-goingly. This ‘non-temporal’ media is quickly so much more responsive and pliable in ‘real-time’ than writing down music, making the act of composition feel laboriously painstaking. [maps 5-8] sees a further exploration and extension of the initial mark-making in [maps 1-4] and tackles a broader repertoire of ‘sound-initiators’ [the sound or combinations of sounds in aural gesture I employ to initiate the mark-making from my imagination]. More extreme sound-events now shape my painted outcomes. The resultant work reflects these polarities.