(2016) 110x100 cm, pencil on paper on birch panel.
(2016) 100x100 cm, acrylic on canvas
(2016) 100x100 cm, acrylic on canvas
(2016) 40x30 cm, pencil on paper
(2016) 40x30 cm, pencil on paper
The Punchcard project is an attempt to somehow mirroring the cryptic or archaic in the things we do not understand. I specifically wanted to make a series discussing how our recent age of computer devices constantly generates new languages, that subsequently become redundant and forgotten.
The drawings themselves are made using photographic references from archives documenting, or even advertising the early punch card computer systems. Instead of just working from one reference alone, I draw elements from multiple sources, constructing images that look convincing in terms of narrative cohesion.
I feel that this way of working somehow mirror the way we constantly construct and revise our narration of reality and sense of self - often withoutthe necessary knowledge to understand the information we use.
The initial idea behind the geometric pattern repeated throughout the series, was to have it represent the abstract images used to represent those things we do not understand, but as the series developed, I think multiple values or meanings can be attributed.
Several elements in these drawings are complete inventions, which might be significant in terms of illustrating a point made by the Argentine writer Jorge Luis Borges' biographer Edwin Williamson about fiction*. He named poetic faith as a crucial ingredient to aid the idea that facts or truth come secondary to the needs of the narrative as a whole. Our ongoing revision of our sense of reality constitutes a kind of mental re-telling - a narrative - and so there might be certain elements of invention, or suspension of disbelief, applied to aid in the narration of our own lives. Mirroring these thoughts, my drawings provide visual ingredients assembled from visual facts, but portraying a whole that is ultimately fictional, and therefore its utility is limited only to whatever context the viewer provides upon seeing them.
The drawings are made using graphite pencils 6H-6B, on hot pressed watercolour paper, and there are currently seven drawings, and one acrylic painting on birch panel, in the series. The project is still ongoing.
*Borges: A Life, Edwin Williamson, 2005, Penguin, 416 pp
Punchcard VIII (2015), 90x90 cm, pencil on paper on birch panel.
Punchcard (2015), 50x50 cm, pencil on paper.
Punchcard II (2015), 50x50 cm, pencil on paper.
Punchcard III (2015), 50x50 cm, pencil on paper.
Punchcard IV (2015), 50x50 cm, pencil on paper.
Punchcard V (2015), 50x50 cm, pencil on paper.
Punchcard VI (2015), 50x50 cm, pencil on paper.
Punchcard VII (2015), 50x50 cm, pencil on paper.
Instructions and Applications
Instructions and Applications is a digression from the Punchcard project, where the geometric pattern is introduced in a fairly different context with regards to subject matter. It is also a departure from the strict format, and a way to look at diptychs as a way of dividing and exploring the narrative of the drawn subject matter. The wood panels are made into sculpture forms, and the wood exposed, either parallel to the drawn surface or, in the case of Application, exposed through the pattern in the painted surface.
Instructions III & IV (2016) 16x38 cm, pencil on paper on wood panels.
Instructions I & II (2016) 18x30 cm, pencil on paper on oak panels with perspex.
Application (2016) 90x90 cm, acrylic on birch panel.
The Velvet Bloom paintings are informed by re-contextualised photographic material in a mirroring of how I feel that we constantly reconstruct our narration of reality and sense of self. This sense of reality is often based on random and superficial information.
My research into browsing-culture and social constructs is transformed into associative assemblages as paintings. I assemble research from particular moments in the imagery I collect, with the aim of constructing an image that is somehow convincing in it’s narrative autonomy - but that only partially represents a cohesive story - similar to a movie trailer perhaps. I often work in larger series to fully explore any underlying theme or idea.
Velvet Bloom XIX (2016) 120x120 cm, acrylic on linen.
Reverend (2016) 120x120 cm, acrylic on linen.
Reverend II (2016) 120x150 cm, acrylic on linen.
Velvet Bloom XV (2015) 100x120 cm, acrylic on linen.
Velvet Bloom XIII (2014) 100x120 cm, acrylic on linen.
Velvet Bloom XII (2014) 100x120 cm, acrylic on linen.
Velvet Bloom XI (2014) 100x100 cm, acrylic on linen.
Velvet Bloom VI (2014) 100x120 cm, acrylic on linen.
Velvet Bloom (2014) 90x90 cm, acrylic on linen.
Velvet Bloom II (2014) 80x100 cm, acrylic on linen.
Velvet Bloom XIV (2015) 100x120 cm, acrylic on linen.
Velvet Bloom X (2014) 100x100 cm, acrylic on linen.
Velvet Bloom VIII (2014) 100x100 cm, acrylic on linen.
Velvet Bloom VII (2014) 100x120 cm, acrylic on linen.
Velvet Bloom IX (2014) 100x100 cm, acrylic on linen.
Velvet Bloom III (2014) 80x100 cm, acrylic on linen.
Assemble : Dissemble - Dark River
The 1950's term assemblage has been dusted off to offer a context for the investigation of social constructs that takes place in the series Assemble : Dissemble. Working exclusively with found footage as references to construct the pencil drawings, the work offers a hint of collage, but with the rendered imagery carefully sewn together on paper by pencil and imagination.
Quite random stimuli can serve as building blocks in our personal assemblage of social and political reality, and this is very much simulated in the gathering of research and process of making the work. Browsing ultimately becomes very personal and unique, and perhaps our only claim to autonomy is to be found within the construction of our individual filtering.
The Dark River drawings are all pieces in the mosaic assembled from browsing. But they also represent the strong will to construct factoids rather than facts - narratives rather than didactic illustrations. By rendering snippets of information from found footage and reinventing the pieces in the manner of the Gestalt, the work is transformed into more than a retelling of a story - the work becomes a kind of movie trailer. It does not seek to tell a story as much as revealing certain content, unlocking certain sentiments or memories the viewer might have tied to the rendered segments.
In this way it is important that the work remains abstracted in content, stylised in design, so as not to be confused with a film still.
The careful rendering is also important, as the compositional elements become mere carriers for marks, and so is completely removed from thoughts of technique. A pencil drawing is in this sense much more apt than a painting will ever be, as it does not rely on the inherent mishaps or chemical reactions of paint. A large surface has to be carefully constructed, it cannot be filled with a large brush stroke or the pouring of paint. Instead it documents the physical presence of the artist through lines only, and so becomes a very sensitive form of secondary assemblage: the reassembling of a broken image, but an image that did not exist before it was repaired.
The title Dark River represents a very personal romanticisation of the obscure stream of stimuli that founds the building blocks of any narrative - be it retellings of factual occurrences or fanciful tales. Ultimately a retelling will by the nature of its narrator tell only one version of events, and so the assembly of facts become a dissembling. An untruth. But therein lies the opportunities of the narrative, and ultimately its allure.
1. (of people) Gather together in one place for a common purpose.
2. Bring (people or things) together for a common purpose: "he assembled the surviving members of the group for a tour".
1. Conceal one's true motives, feelings, or beliefs.
2. Disguise or conceal (a feeling or intention).
Dark River II (2013) 60x120 cm, pencil on paper on wood panel.
Dark River IV (2013) 60x120 cm, pencil on paper on wood panel.
Dark River VI (2013) 60x120 cm, pencil on paper on wood panel.
Dr Brown's Medal (2015) 40x55 cm, pencil and acrylic on paper.
The Editors Clock (2015) 40x55 cm, pencil and acrylic on paper.
Mount Polaire (2015) 40x55 cm, pencil and acrylic on paper.
Norma's Feathers (2015) 40x55 cm, pencil and acrylic on paper.
Slave Dog (2015) 40x55 cm, pencil and acrylic on paper.
Stormy Recline (2015) 40x55 cm, pencil and acrylic on paper.
Dark River (2013) 55x60 cm, pencil on paper.
Dark River V (2013) 60x120 cm, pencil on paper on wood panel.
Dark River III (2013) 60x120 cm, pencil on paper on wood panel.
Dark Skies is an appropriated title from an American TV series from the 90’s.
20 episode titles were adopted 20 drawings, which were made based on research collected and archived through a system of word-association. I did not watch the TV show, and still know very little about it - other than the fact that it deals with conspiracy theories and invasive alien parasites. The idea was to produce a series with a documentary feel, like a government archive of sorts. Once the 20 drawings were made and titles distributed in a random manner, the process was repeated, and another 20 drawings were made with corresponding titles. A sequel.
Most of us gather small factoids from fairly random sources. This information is pieced together to form our sense of reality - an intricate mosaic that also forms the basis of our output. The idea behind Dark Skies was to assemble narratives in a similar way. I did this by making collages - not by cutting and pasting, but simply by piecing things together with pencil on paper, assuring a slow, meticulous investigation, and also a way of constructing interesting narratives. The viewer is left to supply narrative and order.
The series is drawn using Faber-Castell pencils 6H - 6B on hot pressed 300 gsm watercolour paper. The drawings are float mounted with deckled edges in box frames.
Inhuman Nature II (2013) 15x26 cm, pencil on paper.
Hostile Convergence II (2013) 15x26 cm, pencil on paper.
Burn Baby Burn II (2013) 15x26 cm, pencil on paper.
Inhuman Nature (2012) 15x26 cm, pencil on paper.
The Enemy Within (2012) 15x26 cm, pencil on paper.
Both Sides Now (2012) 15x26 cm, pencil on paper.
Ancient Future (2012) 15x26 cm, pencil on paper.
Dark Days Night (2012) 15x26 cm, pencil on paper.
The Awakening (2012) 15x26 cm, pencil on paper.
The Last Wave (2012) 15x26 cm, pencil on paper.
We Shall Overcome (2012) 15x26 cm, pencil on paper.
White Rabbit (2012) 15x26 cm, pencil on paper.
Mercury Rising II (2013) 15x26 cm, pencil on paper.
The Last Wave II (2013) 15x26 cm, pencil on paper.
Ancient Future II (2013) 15x26 cm, pencil on paper.
Bloodlines II (2013) 15x26 cm, pencil on paper.
The Enemy Within II (2013) 15x26 cm, pencil on paper.
White Rabbit II (2013) 15x26 cm, pencil on paper.
Memoirs Of the Other
The series Memoirs of the Other is a flight of fancy. It is a collection of beautiful imagery celebrated through a collaging of found footage and the artists own imagination. Feathers, pearls, lace, silk, skin or beautiful hair serve as embodiments of the artists search for style and taste - not merely because of the material’s inherent socio-cultural value, but also because they reflect the light so beautifully.
Memoirs is indeed a visual discussion of the problematic term beauty. An individual’s memoirs are something to be treasured and investigated, it does not overly matter whether all the facts have been documented correctly as long as there is an interesting story to be found. Memoirs of the Other can be read as a collection of feelings, reflections and experiences noted down by the artist. But they are not necessarily his own - they are equally imagined and truthful, like beautiful little lies, that somehow reveal and explore subtle, fragile possibilities concerning both artist and viewer.
Memoirs of the Other is predominantly a works on paper project. Pencil on paper. But there are no sketches or notes supporting it. Each drawing is uniquely made as a reaction to the previous in such a way that idea, planning and resolution are contained and concealed within the one finished image. This seems important for two specific reasons; first it keeps the idea fresh throughout the process of drawing, and secondly, it allows the process of decision-making to subtly show in the finished piece. Traces of this can be seen in the form of gentle lines in some works at close inspection.
All drawings are made using graphite pencils on hot pressed watercolour paper. The deckle edges of the paper are displayed openly to celebrate the fragility and delicacy of the medium.
The titles of each work can be seen as headlines or chapters perhaps. They are all made up of a pairing of two descriptive nouns, leaving it up to the viewer to interpret, associate, project and infuse - in the same way one would look at the drawings. The source material is a large body of found or imagined imagery that is pieced together bit by bit during the making of the drawing. This collage-like process has one purpose; to appear convincing. So even if certain content might be imagined or fabricated, the artist does his outmost to make it appear as one cohesive unit - one celebrated event. This is achieved through the use of high contrast and conviction.
Lady Time (2012) 27x35 cm, pencil on paper.
Rucola Ruby (2012) 27x35 cm, pencil on paper.
Ebony Pearl (2012) 27x35 cm, pencil on paper.
Feather Leather (2012) 27x35 cm, pencil on paper.
Time Bride (2012) 27x35 cm, pencil on paper.
Camel & Lace (2012) 27x35 cm, pencil on paper.
Lady Veil (2012) 27x35 cm, pencil on paper.
Clockwork Feather I & II (2015) 30x20 cm, linocut on Japanese Ho Sho paper. Edition of 25