I previously posted a small piece that acted as a proof-of-concept for this much larger work. The smaller piece was made of 6 cm squares while this is made of 10 cm squares arranged in a 6 x 12 grid, with thicknesses of 5, 10 and 13 mm. All pieces are made from cut and sanded polystyrene foam, painted with acrylics.
Each of these elements began as improvised brushstrokes limited to circles, rectangles and triangles. Through a long process of revision and reduction they were reworked to essential forms and arranged within a horizontally-oriented grid. Any vestige of sign or reference was stripped away. What is left is a field of vision that is primed, ripe with opportunity for the emergence of relations based solely within the context of the viewer’s personal experience.
The analytical mind is quickly occupied in the essential seeking of patterns and repetitions, joints and separations, similarities and differences, and the emotional mind is then free to engage with the emerging symbols that, as aesthetic events, force us to think in terms of meaning. Just as lightning exists as potential within a thundercloud, so symbols and their meaning manifest from the potential of the individual viewer, who acts as shaman, myth-maker, oracle, conjuring representations of elemental human truths in flashes of direct experience.
The abstract painter Brice Marden, when asked how he wanted viewers to engage with his work, said, “Just pick a line and follow it. Hopefully, you begin to disappear.”
Pick a shape and relate it to another, as a living, dynamic being rather than as an object of distraction or utility. As a wise character in Margery Williams’ most famous book says, “Real isn’t how you are made. It’s a thing that happens to you.”
Click through for more close-up photos, a video, some work-in-progress pics, and even an animation that shows several early stages.
I’ve been working with some shapes from a 2016 piece called The Concrete Content of Experience (about half-way down this page).
I selected eight shape units and cut them from sheets of foam, then painted and assembled them. Each square is 3×3 cm (about 2.5″).
The interrelation and arrangement of elements draw the eye back and forth between similarities and differences, engaging the active mind.
Stacking the foam pieces lifts them out of the flat 2D plane, introducing depth as another dimension of engagement. Cast shadows begin to join, amend and alter the shapes while activating the environment as part of the personal experience.
(Click through for a couple more close-ups).
One last post related to my 2016 show: some great 360-degree video shot on opening night.
Try dragging around to see the whole room while the video plays.
Thanks to Ray at main411.ca for shooting this 360-degree video.
And thanks again to Tim for having his music become the soundtrack to this video!
Flipping through the pages of the book of pieces from “BLOCK PRINT 2016”.
The book is a large 12 x 14 inches, hardcover, and printed by Photobook.
It will be available in our store if you’d like your own copy, or send me an e-mail.
Click through to see some stills.
Curator Michael Schwartz invited me to have a solo show at Kafka’s. I worked most of the summer preparing a collection of block prints and a large wallpaper installation.
The show will be up until November 14th. Kafka’s Coffee And Tea is at 2525 Main Street in Vancouver, between Broadway and 10th.
I’ll post more about how I made them, but for now here’s a glimpse of most of the pieces in the show.
Left: Sutra of Past Embarrassments
Right: The Unconscious Ease of Ease
Click through for more photos of the work and some shots from opening night.
Aya and I have been invited to join a group show celebrating Kafka’s fifth anniversary.
We are honoured to be included with such an amazing group of artists.
If you are in Vancouver, we would love to see you at the opening:
Thursday, July 23, 2015
The show will be up for at least six weeks.
Some of the completed pieces are on display in the following image galleries:
Click through for more photos. Read More
A piece that came to me in a 3am vision.
On the second-last night of my week at the Atlantic Center, a lot of experiences, impressions, understandings and ideas came together very late at night as a complete vision of this piece. Unable to sleep any more, I got up and followed the boardwalk through the trees to the studio and got to work.
Click through to see the finished piece (top image is only a detail).
Two smaller pieces from my abstract series Corrections.
Japanese calligraphy students hand their work in for review at the end of each lesson. When the pages come back, the teacher has painted the corrections on top in thick orange strokes. I thought it would be interesting to apply the same idea to abstract painting, as though a teacher could indicate with a specific colour where the artist had gone wrong.
Click through to see them (top image is a detail only).