Archives for posts with tag: drips

subconscient ordnance survey

Here is another map like piece, providing a kind of ordnance survey of my subconscious at the time through personally resonant materials, marks and lines. The stains in the lower section were created with a syringe filled with tea.

Please click to zoom in and explore.

 

Here are five more minimal works, made around the same time as those in post 50: (https://johnmacormacart.wordpress.com/2012/10/02/50th-post-5-minimal-works/)

These fragile, loosely titled works are on paper and card. The first three are quick experiments and the fourth and fifth are composed of debris from other pieces lying around my studio held together with glue. I find that like sketchbook works, these pieces are freer and not laboured as ‘finished’ pieces can often be.

Dripped gloss over black

white gloss on black

Deep blue with pink

blue over pink

Mask on black with drips

mask

Worn paper on card

minimal composition with bin symbol

Globe within square

world within a square

fault lines beneath ice

A piece from the same series as frozen landscape, brittle lines dissect the negative space and lead upwards to the dense city like cluster.

90x90cm

 

This piece is from a series made in 2004, again employing the tracing maps technique. I decided to upload it today as I was enjoying the delicate marks made by bicycle tyres on the frozen concrete as I carefully cycled to Belfast this morning. The title was inspired by the Red House Painters lyric “the open drapes look out on frozen farmhouse landscapes” from the melancholic, sparse and beautiful song Have You forgotten.

90x90cm

90x60cm

This is another recent work, this time on a canvas primed with sky blue paint. I traced and layered a map of Bangor (county Down) in the top left corner- this harks back to a technique I used for large scale works in my degree show in 2003.  Zoom in to study clues and drips.

I’ve been building up a body of work of several pieces on grey wood and canvas in the past couple of months. Ambiguous imagery implies adventure and desolation playing around with the paint and lines.

The small photograph of buildings in a desert landscape in the centre was bought for 25p in a shop called Snooper’s Paradise in Brighton. I highly recommend a visit there if you’re ever in the town.

90 x 60 cm

It’s a new month so here’s a new blog post. This painting was completed in fits and starts earlier in the year and on a few occasions I thought it was destined for the bin.

 

Close up details:

 

 

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.

 

 

 

 

 

This piece is from a few years ago when I was less confident with colour. I used household gloss and acrylic paint applied at varying thicknesses, then scratched back into the layers.  I think parts of it work and display evidence of the ‘struggle.’

This piece was made around the same time as Reconaissance. The title was inspired by the shape at the top resembling a map of Austrailia. I like that it refers to an obsolete idea too, continental drift was superseded by the concept of plate tectonics in explaining the movement of continents.

Traced map fragments and spilt and scraped paint intertwine on the canvas. Scrawled text winds its way around the composition. I like to juxtapose sparse and densely worked areas, like in River on light blue, I constantly want surfaces to breathe and allow the eye to venture; to explore work at the macro and microscopic level.

Image

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