THE CONCEPTUAL LOCATION OF THE IMPRESSION

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THE CONCEPTUAL LOCATION OF THE IMPRESSION

• This presentation engages with the emergent
  conceptual locations of a painting practice.
  Ideas that inspired early experiments have
  evolved into a subjective engagement with and
  challenging of, notions of abstraction and
  figuration. The idea of the impression,
  developed through studio methods and processes
  has produced a series of imagined sites and
  compositions, intended to offer the viewer an
  experience that sits in a undefined, unlocatable
  space a place where time is suspended.
  Technically the impression is achieved through
  the use of color, tone, perspective and by way of
  one-sitting sketches. This presentation will
  focus on the key conceptual frames of
  ephemerality, the other and the constructed
  experience. These aspects will be briefly
  discussed and described with images from the
  studio practice.

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(April 2008) Oil on board, 65 x 65cm, one-sitting

• First one-sitting painting
• Time suspended

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(April 2008) Oil on board, 65 x 65cm, one-sitting
(April 2008) Oil on board, 40 x 60cm, one-sitting
(April 2008) Oil on board, 65 x 65cm, one-sitting
(April 2008) Oil on board, 40 x 60cm, one-sitting
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Alex Katz, New Years Eve (1992) Aquatint, 96 x
87cm, Edition 43, Artists Proofs 12
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Alex Katz , Road (2006) Oil on Hardboard , 30.5 x
22.9cm
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(April 2008) Oil on canvas, 76 x 103 x 3.5cm,
one-sitting

• First large one-sitting painting
• Introduction of deliberate devices
• - pathways
• - shadows
• - unlocatable space
• - unreal perspective
• - staining

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(April 2008) Oil on Canvas, 75 x 110 x 3.5cm

• Readied surface
• Both surface and images applied by wet on wet
  technique
• Heavy surface appearance

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(May 2008) Oil on Canvas, 75 x 120 x 3.5cm

• Liminal
• Impression
• Sensation
• Color
• Timelessness
• Light application of paint and color

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(April 2008) Oil on Canvas, 75 x 120 x 3.5cm

• Sensation
• Impression
• Timelessness
• Subtle change of light and tone
• Light application of paint and color

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(May 2008) Oil on Canvas, 75 x 120 x 3.5cm

• Devices shadows, unidentifiable smudges, unreal
  color
• Otherworldly
• Color indicates something unnatural
• Color dislocates the object from reality

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(May 2008) Oil on canvas, 75 x 120 x 3.5cm

• Questions whether the contrast between solid
  (real) and muted (implied) evokes a desired
  experience
• Less space
• Strong contrast of color

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(June 2008) Oil on canvas, 75 x 120 x 3.5cm
Impression Limited colors Luminosity
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(June 2008) Oil on Canvas, 75 x 120 x 3.5cm

• Aerial perspective
• Limited color
• New experiment with surface preparation
• Cast of light

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• Michael Raedecker, Brilliant Gloom (2004)
  Acrylic and thread on canvas, 190 x 310cm

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(July 2008) Oil on Canvas, 75 x 120 x 3.5cm
Harder edges Solid form Stronger color
choice Space Building and nature
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Impression One-sitting sketch Tone-on-tone Repr
esentation fleeting moment

• (July 2008) Oil on canvas, 75 x 120 x 3.5cm,
  one-sitting

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(July 2008) Oil on Canvas, 75 x 120 x 3.5cm,
One-sitting
Subdued and limited color The other Ephemerality
One-sitting on prepared surface