Archives for category: wood

I’ve been working directly on to the walls of my studio space in Cathedral Studios. It has been a liberating and exciting process. I’ve continued the marks on to the floor and the ceiling, which encourages the viewer to feel that they are ‘in’ the work; to relate to the scale of the work with the size of their own body. The work has gradually grown over the past few weeks. Part of the feeling of freedom comes from the awareness that the piece can only be transitory. Ultimately it will be painted over, only to exist in photographs and memory.

This makes documentation especially important, though it is wholly inadequate in terms of experiencing the work. I have often thought this when looking at installation or performance art. Immediacy, sensory stimulation and interaction cannot be translated into a two dimensional image or video.

Walls:

wall piece 1

wall piece 2

wp3

 

wp5

wp6

wp7

wpf

Ceiling

wpc

Floor

wpf2

wpf3

 

scored

I obliterated an old piece of work scoring with knives, drilling and gouging the surface. I like that it looks like the bi-product of  another process.

The same method has been applied to a piece of MDF primed with grey paint below.

scored panel 2

bombard

 

This is a small recent piece which employs the pastel palette I have favoured lately. The bomber suggests threat. Holes could be for rivets or made by bullets. The fragility and transience of all existence is implicit.

Anything built can be destroyed.

au bord de la mer

the city lies in dust

Translates as “the city lies in dust.”  This is a large piece on wood currently on show as part of Cathedral Studios ten year anniversary exhibition at the Water front hall in Belfast. This image Contains a reworking of 3 Black Flags, an earlier piece. The exhibition runs until the 30th of August.

compund at sea

A building or a brick perched in a puddle or a sea.

Glued pigment and paint distressed with sandpaper and scraped.

Sallow sun or moon high in the beige sky.

White-Out

This piece was one of three that comprised my degree show in the summer of 2003.  It measures about 6 and a half by 5 feet and I consider it one of the most successful pieces I’ve ever made.

I traced marks I inflicted on wooden boards with axes, drills and hammers then painstakingly transferred the tracings to canvas. It was a slow process to build up the cluster of marks which concentrate in the bottom right corner. At this time I was discovering the power of negative space, I think it’s very important to the overall feel. I used white radiator paint around the edges and gloss paint for the vestiges of white on the left hand side of the canvas.

The work resembles old maps,  cave paintings, cells seen under a microscope or a diagram of organic growth. It was selected for the Royal Ulster Academy show that year and sold to the Northern Ireland Department for the Environment. I sometimes wonder where it has ended up, or if it still exists and what the people who see it make of it.

 

I have been working on this piece in the past few weeks. Found images and diagrams interplay with various types of paint, felt tip and pencil on this wooden surface. Drips are welcome. Ruled and freehand lines and drill marks plot the composition.

Details:

 

I like the sign language hand signalling ‘bad.’ It is quite sinister coloured red.

 

 

 

 

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