History Of A Kiss

History Of A Kiss . CMYK Four Colour Seperation on Somerset Satin 300gsm 76cm X 56cm

In this abstract works, interest lay in the artistic momentum of filtering, levelling and balancing out the pictorial qualities of painted material with digital processes. Using hand painted and silkscreened surfaces, outlines of pourings and subsequent layering’s of thick paint, these textures and ‘pools’ are then photographed using a hi resolution Leica camera. Working material is then collaged and designed digitally. The approach is a form of sampling, importing or reconfiguring. Final prints are then achieved through treatment in both digital conversion and CMYK colour half tone four colour separation silkscreen technique, consisting of large printed works which are visually complex and often cartographic in form.

There is an interest in detail and stylistic contrast, the energy of the print coming from the injection of colour that the works display. They are art presented through distorted expressions, the dynamic of movement across a shallow screen rather than the construction of inventive space. There is the feel of a landscape, a vertical layering of features which enables a reference to landscape whilst maintaining a fairly all-over composition.

Prints resemble landscapes optically and it is space that seems to be portrayed. Using Photoshop to manipulate sketched material, a hard copy of which is then uses as a score for the prints. The digitized image finds its way into the finished work. There is a sense that you are witnessing a visual conversation between the digital and the analogue. Contradictions of technological culture. Digital seems to be referenced more in the synthetic colours and the insertion of manufactured collaged elements. A faux authenticity, yet with playfulness and a sense of enjoyment.

Combining painterly skills with digital age complexity then, these prints echo painterly analogues, familiar abstract marks and spontaneous gestures. The complex make-up of this layout means every space is filled with twists and turns, patterns and line.

The gleaming paint forms have a complicating effect on the depth of the picture, nebulous areas of brushwork nearly but not quite coalescing into specific shapes, with a suggestion of directional light. On the surface they appear to valorize the brilliance and perfection of new consumer objects.

There is an illusion of the visual quality of a surface that shines. The silkiness of high gloss invites tactile attention. And there is an aesthetic pleasure to be gotten from this illusion. Although dependent on specular-reflective properties of light and absorbency of materials, this illusion of reflective patina or sheen is intentionally sought. The shine materialises through use and the careful positioning of the painted surface, not necessarily inherent in the material, but is derived. This shininess might suggest religious or poetic allusion, sensory engagement, luminosity, spectacle, desire. The unique lustre and luminescence, aroused by the redolent colours, is to experience the visceral impact.

Rich, lush and borderline kitsch. colours are balanced with strong hues, riffs and teeming gestures, all tuned at different speeds according to the brushwork,  thicker, heavier, quicker and finer to the point of evanescence. The works play with modernist flatness, what's in front, what's behind, what's on the surface. No matter how spontaneous these ‘games of the spirit’ appear at a distance, they are extremely practised. Everything is pinned together with precision, one senses a steely purpose in each print. Nothing is quite left to chance.

Other strong hues in the form of rectangles, squares and shadows blend and bleed boldly from one part of a print to the next, creating a relief affect in the process. The vibrancy of the colour used demands attention from the viewer. It expresses a concern with making sure each piece is balanced, both proportionally and colour wise. It is important to be able to make sense of the chaos, for it not to completely overpower the print in a non-meaningful way. There is an extraction of abstract patterns, decorative order out of ornamental overload. Synthetic colours, scale and project themselves from various painterly shapes and arabesques. Various marks and motifs float in a flattened, shallow foreground space.  Brushstrokes vary in terms of perceived speed, temperature, and body.