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ARTIST STATEMENT FOR LUX CODA WORKS

Working Theory In Brief

 

The Lux series of paintings consciously exploit the reactive properties of the paint and its surface texture in varying circumstances of illumination and angle of view. This induces subtle and sometimes dramatic shifts in hue, tone, saturation and depth perception. These paintings are a slow read that is optimal in natural, changing, light. Photographic capture is inadequate. 

 

Individually these paintings are about complexity in texture and lightplay. Lux Coda, as a body of work, functions as a flexible system designed to be curated using various forms of code for the purpose of site specific or thematic arrangements within the following structures: International Morse Code, Piano Roll, Fractal or randomly based installations. Each painting is a potential unit of a code; any given installation is the execution of a system of, or reference to, code.

 

This approach maintains the integrity of a solitary painting while allowing for curatorial flexibility and expanded expressions of ideas through a mutable framework. Historical traditions and systems are used to combine our relationships to light, surface, colour, pattern, language systems and complexity as a meaningful aesthetic.

 

 

In Detail

 

Individual Works:

 

Each painting has enough subtle and dynamic visual activity to be independently engaging as stand alone works. Subtle colour shifting provides volumes to their slow read.

 

Waveform and landform themes have become central and are executed through the use of texture and are affected by angle of view, colour shifts and illumination.

 

Each work is entitled using words beginning with the first letters of DNA base pairs (CGTA) creating combinations of four word expressions/poems to be published to an ongoing dedicated twitter feed https://twitter.com/DNA_LUXCODA with potential for other publications.

 

Installation and Curatorial Flexibility:

 

Fun for nerdy curators and/or colour enthusiasts!

 

The work is modular by dimension and proportion based on fractal theory; therefore there is significant flexibility of installation scale and intent. 

 

With interactivity in mind, exhibition spaces and/or criteria become modifiers to the system: the idea that the variance of installation execution as an expression in it’s own rite elicits a juxtaposition to the slower, intimate requirements of the individual units. This is consciously built into Lux Coda through it’s conception and aims to encourage a collaborative process of project formation.

 

Lux Coda can be installed with a wide range of intent: anything from a pure aesthetic colour field combination to an encoded message in Morse, or as representing units of sound in piano roll form.

 

It can literally be code or provide a multiplicity of referencing it through an aesthetic intent.

 

Although the medium of painting forms the bedrock of this body of work there is potential for multimedia extensions of any particular exhibition.

 

 

Digital Works

I have always seen digital works as an extension of the substance-laden work of painting and have relied on this technology for creative process. Recent ventures into video and digitally manipulated photography have been evolving in my practice as disability related adaptations. I remain committed to abstractions of experience and displacing identity narratives by doing so.