NOTHING WILL HAVE TAKEN (ITS) PLACE
Nothing will have taken place, taken its place, but place, the place (itself).
". . . what will not have . . ."
". . . what will not have . . ." - ruled in some measure by the negative future perfect, or future anterior denial evoked in its title. Titles in my last show indicated lines of filiation or homage. Titles in this show tease with an approximation of descriptive phrases that none the less fail even to evoke the simple presence of something, no matter what, anything at all, mere existence: whatever is announced or called in these elliptical phrases is constantly being erased. Moreover, it is its own erasure.
Like all of these works, this one went through a number of stages while remaining the sam. I had a basic idea: that of a fleshy tone to ground the cosmetics pigments used elsewhere in the works, often layered over reds or pinks, all sorts of fleshy tones.
The interference pigments I use were designed first of all to look good next to or on top of flesh tones: in some ways a photograph of a bikini clad model lying on a car coated in these pigments would be an ideal point of reference for some of my works.
This fleshy colour, what John Sallis would call, after Hegel, "carnation" is literally the "foundation" of a great many of these works.
Although in ways they feign the lofty tone of the post-minimalist monochrome, I think of these works, especially their placement in the space, as having an element of playfulness. It seems only appropriate to acknowledge the fact that the colours used here exist in the world also, on lips, above and below eyes, on cheeks, on the curves of custom cars, on sneakers, on mobile phones, cameras and computers, in packaging and mazrketing: in this way the material substance of my work mirrors my attempt to allow the work of painting to involve a relation to the world other than that of representation
Further installation shots of "(T)HERE"
Looking across to the back wall from the little return on which hung a large matte lime or acid green wooden construction of a good thickness. This work in the foreground is about 7.5cm deep and is thickly coated with the dripped remainders of dozens of layers of sometimes clashingly contrasted colour, some of which subtly changes in hue as you move, others are dead and matte. The pattern of criss-crossed brush-strokes just about matches the imitation textile textures of the gallery walls. I think of the implied violence of the sides as demonstrating the price paid for the surface it adjoins, they are a kind of artificial irrationality, a mixture of unplanned and planned "accidents" that end up demonstrating the history of the surface, meaning the frontal surface.
Less than a week now to go "(t)here"
My favourite "violet/silver/turquoise travelling interference pigment on wood construction as it was on the floor in the centre of the gallery. Now moved to the back corner wall for protection. This piece was a true intervention into the spectator's space and hence their relation to the works on the wall, enforcing a degree of closeness and intimacy upon the viewing experience of the more conventionally hung paintings on panel or stretched linen or canvas. At the opening a group of people ended up standing around and over it. Quite appropriate given its title ". . . moreover, when . . ." This piece represents a future direction for my work. In this particular space, when lit by natural light, the most beautiful effects are achieved with the work on the floor, especially in the morning around 10 am when the gallery has just opened.
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