My painting practice is a visual language that is influenced by psychometric tests (Galton, 1890, Rorschach, 1921 and Binet-Simon test, 1905). The visual experience (posteriori) and the semiotics of the nonverbal grammar of paintings require me to consider further the rupture (Perloff, 1986) of the visual-spatial field (Saint-Martin, 1987) when the visual is translated into either a verbal or a written grammar (priori) as defined by the alphabet (Chomsky, 1957).
A Multi-Fold painting may be folded many times. The paint is folded, squashed and manipulated through the back of the canvas; by hand, fist, finger and foot. Sometimes it is only the weight of the folded canvas itself that determines the outcome of the marks. The physical process is one of torture; I torture paint. It has to be oil paint on canvas. A painting may be stretched and re-stretched during the process of evaluation. The operation is under constant review. The strong personal traits of the Multi-Fold are diverse. The judicious combination of searching and finding produces a series of works that run parallel to the central theory and practice of the process. Since the beginning of 1997, I have returned to a form of painting that I first experimented with in 1991.
The Linear Multi-Fold paintings operate on a definite plain, they seek reason in formal tensions. The Ontological works adhere to the same reasoning, but the guidelines of expression will flow more freely. This is to say that these works are not, ‘First impulse reactions’, they are attained through a perception of a certain automatism of the created form that has a parallel bond with reason. The gestures flow more liberally until the moment the artist imposes himself upon the work. The exercising of control will reveal as much or as little the artist seeks to portray in each work. All the Multi-Fold works take elements of the process and are then re-interpreted to form new working methods and to increase the Multi-Fold vocabulary.
All the Multi-Fold paintings are formulated out of an asymmetric provocation. This appears to be a contradictory action and a somewhat crazy interpretation of one's own paintings. This ‘crazy method’ is a deliberately generated behaviour pattern of movement while undertaking an act of painting. The Multi-Fold asymmetric painting is a contradiction.
I define the Multi-Fold as, ‘The exercising of control over chance and the pursuit of the nature of being.’
What is it to be Human? Perhaps all the verification one needs is simply to exist: but that is not enough. One does not always need to look to
science to find an explanation or to seek a reason. The formulae and the answer may take a differing form. An equation may be found in painting. These are continuous investigations. It could be the idea of making the unintelligible the ideal and the ideal is unreasonable. There is fatalism behind all this. The grasping and the pulling of all that matter is akin to dragging a huge stage curtain; to cut through both the viewing audience and a performer. You know that you are doing something; but explanation is not always evident or understood.
That things are not easily explained is part of the dilemma. One is aware of an occurrence-taking place, but one is at odds as to how one can explain something. Perhaps the painting is itself the only tangible evidence one needs for ones' proof of existence and that one is living life through experience.
That every word spoken, every sign of life one describes, the depth one holds is always concealed. That is a deception; One has to be magnanimous to one's own deceit.'
Multi-Fold Painting and how to enjoy them.
The Linear Multi-Fold paintings operate on a definite plain, they seek reason in formal tensions. The Ontological works adhere to the same reasoning, but the guidelines of expression will flow more freely. This is to say that these works are not, ‘First impulse reactions’, they are attained through a perception of a certain automatism of the created form that has a parallel bond with reason. The gestures flow more liberally until the moment the artist imposes himself upon the work. The exercising of control will reveal as much or as little the artist seeks to portray in each work. All the Multi-Fold works take elements of the process and are then re-interpreted to form new working methods and to increase the Multi-Fold vocabulary.
All the Multi-Fold paintings are formulated out of an asymmetric provocation. This appears to be a contradictory action and a somewhat crazy interpretation of one's own paintings. This ‘crazy method’ is a deliberately generated behaviour pattern of movement while undertaking an act of painting. The Multi-Fold asymmetric painting is a contradiction.
I define the Multi-Fold as, ‘The exercising of control over chance and the pursuit of the nature of being.’
What is it to be Human? Perhaps all the verification one needs is simply to exist: but that is not enough. One does not always need to look to
science to find an explanation or to seek a reason. The formulae and the answer may take a differing form. An equation may be found in painting. These are continuous investigations. It could be the idea of making the unintelligible the ideal and the ideal is unreasonable. There is fatalism behind all this. The grasping and the pulling of all that matter is akin to dragging a huge stage curtain; to cut through both the viewing audience and a performer. You know that you are doing something; but explanation is not always evident or understood.
That things are not easily explained is part of the dilemma. One is aware of an occurrence-taking place, but one is at odds as to how one can explain something. Perhaps the painting is itself the only tangible evidence one needs for ones' proof of existence and that one is living life through experience.
That every word spoken, every sign of life one describes, the depth one holds is always concealed. That is a deception; One has to be magnanimous to one's own deceit.'
Multi-Fold Painting and how to enjoy them.
Making Multi-Folds (Slide show)
Multi-Folds
Notes
The paintings presented are fundamentally in date order, however (on occasions) that linear reading is fractured with some works being placed together that share a common parentage.
The image record of the MF’s is poor and out of over 300 paintings only a handful now exist. The images herewith are mainly drawn upon those photographed digitally. A slide show of some of the smaller works will be included within a slide show at the end.
The Polemicist
Car paint/printing ink/human hair on canvas
each panel 200 x 59cm
(1991)
Car paint/printing ink/human hair on canvas
each panel 200 x 59cm
(1991)
Poll
Oil on Canvas
(1991)
Oil on Canvas
(1991)
Temple
Oil/gold leaf substitute on Canvas
152 x 183cm
(1991)
Oil/gold leaf substitute on Canvas
152 x 183cm
(1991)
Four Worlds
Mixed media on Canvas
102 x 102cm
(1992)
Mixed media on Canvas
102 x 102cm
(1992)
The Silent Mask
Triptych
Oil on Canvas
152 x 528cm
(1995)
Produced for the exhibition Angels & Pigheads,
Nottingham Castle Museum & Art Gallery
Triptych
Oil on Canvas
152 x 528cm
(1995)
Produced for the exhibition Angels & Pigheads,
Nottingham Castle Museum & Art Gallery
Warmth (arise)
Oil on Canvas
183 x 152cm
(1997)
Oil on Canvas
183 x 152cm
(1997)
Body
Oil on Canvas
152 x 183cm
(1997)
Oil on Canvas
152 x 183cm
(1997)
Collection No.1
Oil on Canvas
152 x 183cm
(1998)
Oil on Canvas
152 x 183cm
(1998)
Collection No.3
Oil on Canvas
152 x 183cm
(1998)
Oil on Canvas
152 x 183cm
(1998)
Collection No.4
Oil on Canvas
152 x 183cm
(1998)
Oil on Canvas
152 x 183cm
(1998)
Collection No.5
Oil on Canvas
152 x 183cm
(2000)
Oil on Canvas
152 x 183cm
(2000)
Multi-Fold No.25
Oil on Canvas & piano hinge
183 x 304cm
(1999)
Oil on Canvas & piano hinge
183 x 304cm
(1999)
The Velvet Cushion
Oil on Canvas
152 x 183 cm
(1999)
Oil on Canvas
152 x 183 cm
(1999)
Multi-Fold No.72
Oil on Canvas
152 x 183 cm
(2000)
Oil on Canvas
152 x 183 cm
(2000)
Multi-Fold with Cuts
Oil on Canvas
152 x 183cm
(2000)
Oil on Canvas
152 x 183cm
(2000)
Multi-Fold No.66
Oil on Canvas
183 x 304 cm
(2000)
Oil on Canvas
183 x 304 cm
(2000)
Multi-Fold No.213
Oil on Canvas
183 x 304 cm
(2012/13)
Notes
Multi-Fold No. 213 is a schizophrenic discourse on otherness, other...the same as the other, different from the other...just like the other and amongst the other. It matters not that such a painting addresses anew or re-addresses or presents the same or similar symptoms as its equals...nonetheless it highlights the tyranny of the idea of otherness. Otherness could be considered distinct from the indifference to the other.
It is possible that MF213 endures a trajectory regarding forfeiture...in the case of MF213 it is the Loss of control. MF213 utilises an impoverished aesthetic and considerers the rejection of that aesthetic. The painting at one time assumed a previous state...and even if it was not picture-perfect it had been arrived at through craft, a sureness of production and a certain ‘mastery’ approach.
Nature’s subtle aggression (if it could be referred to as that) came to bear upon the canvas. Over time nature took due course and with the appointed bidding the painting was disembowell (as is nature's way). Upon repossession (claiming the work from nature) and regaining the control...the artist duly stages his labours upon new stretchers (1) .
In the same way as some previous Multi-Folds this work is reasoned with (2). The trauma that befalls this work is present from the moment of creation. Forward to the end state...this work utilises the condition of man (as a purveyor, fabricator and exploiter of nature) with the exploitation of ‘Objective Nature’ to create super-realism (rather than creating an illusion (3) of realism).
Multi-Folds (within certain parameters) are not (I would consider) ‘subject specific’ (4). With conceptions such as the ‘death of the subject’; (I speculate)…if I knew what the subject was in the first instant, and if I held an awareness of that single possibility...then my objective (the subject) intention would be to explode that singularity and propel the multitude of fragments toward future possible collisions...creating vacuums…moments of concussion (5).
Thoughts in Note Form
1 MF213 is presented akin to the good dog retching up a perfectly good meal…wagging its tail and presenting its handiwork!
2 Various lengthy texts can be found on my website
3 ‘Illusion’ is a faculty that is presented to an artist and their artwork that has all the hallmarks of skill and deception (the illusion).
4 This conciliatory position perhaps appeases my grand narrative further
Oil on Canvas
183 x 304 cm
(2012/13)
Notes
Multi-Fold No. 213 is a schizophrenic discourse on otherness, other...the same as the other, different from the other...just like the other and amongst the other. It matters not that such a painting addresses anew or re-addresses or presents the same or similar symptoms as its equals...nonetheless it highlights the tyranny of the idea of otherness. Otherness could be considered distinct from the indifference to the other.
It is possible that MF213 endures a trajectory regarding forfeiture...in the case of MF213 it is the Loss of control. MF213 utilises an impoverished aesthetic and considerers the rejection of that aesthetic. The painting at one time assumed a previous state...and even if it was not picture-perfect it had been arrived at through craft, a sureness of production and a certain ‘mastery’ approach.
Nature’s subtle aggression (if it could be referred to as that) came to bear upon the canvas. Over time nature took due course and with the appointed bidding the painting was disembowell (as is nature's way). Upon repossession (claiming the work from nature) and regaining the control...the artist duly stages his labours upon new stretchers (1) .
In the same way as some previous Multi-Folds this work is reasoned with (2). The trauma that befalls this work is present from the moment of creation. Forward to the end state...this work utilises the condition of man (as a purveyor, fabricator and exploiter of nature) with the exploitation of ‘Objective Nature’ to create super-realism (rather than creating an illusion (3) of realism).
Multi-Folds (within certain parameters) are not (I would consider) ‘subject specific’ (4). With conceptions such as the ‘death of the subject’; (I speculate)…if I knew what the subject was in the first instant, and if I held an awareness of that single possibility...then my objective (the subject) intention would be to explode that singularity and propel the multitude of fragments toward future possible collisions...creating vacuums…moments of concussion (5).
Thoughts in Note Form
1 MF213 is presented akin to the good dog retching up a perfectly good meal…wagging its tail and presenting its handiwork!
2 Various lengthy texts can be found on my website
3 ‘Illusion’ is a faculty that is presented to an artist and their artwork that has all the hallmarks of skill and deception (the illusion).
4 This conciliatory position perhaps appeases my grand narrative further
Flower
Oil on Canvas & seeds
152 x 183cm
(2000)
Oil on Canvas & seeds
152 x 183cm
(2000)
Multi-Fold No.71
Oil on Canvas
152 x 183cm
(2000)
Oil on Canvas
152 x 183cm
(2000)
Multi-Fold No.49 (Winged Form)
Oil on Canvas
152 x 183cm
(2000)
Oil on Canvas
152 x 183cm
(2000)
Multi-Fold (Winged Form)
Oil on Canvas
152 x 183cm
(2001)
Oil on Canvas
152 x 183cm
(2001)
Multi-Fold (Winged Form)
Oil on Canvas
152 x 183cm
(2002)
Oil on Canvas
152 x 183cm
(2002)
Series 2 No.3
Oil on Canvas
152 x 183cm
(1999)
Oil on Canvas
152 x 183cm
(1999)
Series 2 No.4
Oil on Canvas
152 x 183cm
(1999)
Oil on Canvas
152 x 183cm
(1999)
Series 2 No.6
Oil on Canvas
152 x 183cm
(1999)
Oil on Canvas
152 x 183cm
(1999)
Multi-Fold Triptych No.4
Oil on Canvas
Each panel 30 x 30 cm
(2001)
Oil on Canvas
Each panel 30 x 30 cm
(2001)
Multi-Fold Triptych No.6
Oil on Canvas
Each panel 30 x 30 cm
(2001)
Oil on Canvas
Each panel 30 x 30 cm
(2001)
Linear Series
Oil on Canvas
(2002)
Oil on Canvas
(2002)
Consideration No.1
Oil on Canvas
84 x 119 cm
(2000)
Oil on Canvas
84 x 119 cm
(2000)
Consideration No.2
Oil on Canvas
84 x 119 cm
(2000)
Oil on Canvas
84 x 119 cm
(2000)
Consideration No.3
Oil on Canvas
84 x 119 cm
(2000)
Oil on Canvas
84 x 119 cm
(2000)
Consideration No.5
Oil on Canvas
84 x 119 cm
(2000)
Oil on Canvas
84 x 119 cm
(2000)
Consideration No.7
Oil on Canvas
84 x 119 cm
(2001)
Oil on Canvas
84 x 119 cm
(2001)
Consideration No.8
Oil on Canvas
84 x 119 cm
(2001)
Oil on Canvas
84 x 119 cm
(2001)
The Waterfall
Oil on Canvas
84 x 119 cm
Oil on Canvas
84 x 119 cm
Augury
Oil on Canvas
84 x 119 cm
Oil on Canvas
84 x 119 cm