The header image is a slice and dice of the working wall at the end of a studio day, in this instance the first Tuesday in April 2019. It’s about ‘pink’, a particular pink, sometimes depicting the space and other times the object. It works for me, especially so on pages of the FT with a scatter placement of images displaced within the overarching frame.
Materiality in Painting: An artist led project operating in the visual arts sector
PROJECT AIMS. The Materiality in Painting (MiP) project will work to advance societal agency when engaging with cultural production. The core objectives are:
A.1 To engender inclusive approaches to engagement with materiality in painting.
A.2 to enhance knowledge and expertise through shared discourse with arts practitioners and self selecting audience/publics in direct contact with artefacts.
A.3 To support, encourage and sustain the production of new artefacts, public exhibitions and performance events as research material for foundational progression.
A.4 To advocate agency for visual culture in the post industrial economy in Teesside.
The act of painting in 2019 is ever curious in the cross currents of fragmented identities born of populism, contested ideas about representation and ever present anxieties of climate change. In the midst of this scenario the materiality in painting is wonderfully diverse in its scope. This leads me into making a new series of works integrating paint media, cinematic film and sound for public exhibition in 2020. Most people stop painting and drawing in their childhood. I could never see the point of letting go. The paintings in the wall work image (above) make a start into figuring the content of the 2020 performance/screening/exhibition.