UniqueExplorations

My work strongly focuses on digital technology when I started looking at a television as a moving image. Locating the chance between movement and lines created, whilst following gestures of figuration. The resolution of the image became distorted and pixilated and showed technology more aggressive and fluid with colour. Pixels are addressable information: These are interconnected in a grid pattern, where lines are seamlessly created but patterns of colour become more visual. Ellsworth Kelly’s paintings show a strong relationship between the idea behind pixelation created by chance, referencing colours and grid patterns, similar to a television screen.

I deconstructed my own images where colour and patterns where created within the development of technology, constructing impressions using black and white, RGB and CYMK purely by random influence where decisions were ineffective. This showed an interesting aspect of enhancing depths and space using CYMK as a palette, responding to a printer. I recently visited Jack Brindleys work at the Pippy Houldsworth gallery; this had a strong connection between the idea of recycling within an office, where printer cartridges become an excess of labour. Visualising technology as a motion, which is used everyday, the aesthetics of the technology and software we use is unknown. Evaluating technology to its raw form, I began to reassemble electronic components to create dysfunctional sculptures. The aesthetics of resistors and computer chips became more interesting than the function of the light. I reconstructed a light where all components were visible, interesting patterns and colours were created, generating an idea behind pixilation. 

Dan Hay’s decompression within images is a very interesting digital process which isolates colours, shapes and textures within each translation. It creates an essence of space or figuration which is more important than the image itself. I began to look at software tools to manipulate images where traditional processes can be re-adjusted by flattening an image where detail and technical ability creates seamless layering. I wanted to create an image in its raw form by taking technology away from my artwork by distorting a photograph, primarily using oil paint as my ‘technical support’. I experimented with the gestural shapes and brush marks which abstracted the image. Intensional brush strokes compliment the portrait, generating shapes and symbols, showing an alternative coding which could re-construct a raw image. Using oil paint in various ways to accentuate depth and tonal values builds the essence of a portrait.

The idea of coding can be referenced between technology and human code (DNA). Deconstructing an image of digital code and human code, creates new shapes and isolation between abstraction and representation. Technology is always restricted by storage, space and time, whereas a human brain can naturally accommodate something becoming infinite. Creating experimentations using reflections and light I want to manipulate space or an image where dimensions become infinite and evolve. I want to continue my understanding of technology within the medium of oil painting; to visualise when code can be decompressed to a point when they become a direct translation.

I have recently had the pleasure to exhibit my artwork in a local gallery with professional artists, being named as the artist of the year in the Kent Messenger has been the highlight of my career so far. Also achieving 2nd place in a competition awarded by The National Association of Decorative & Fine Arts Societies (NADFAS).
Please comment and give structural criticism to improve me as an Artist.