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Misshapen Pearl

其他書名	The Baroque as a Way of Thinking Into Painting the New
出版	University of Auckland, 2014
URL	http://books.google.com.hk/books?id=HAHDuQEACAAJ&hl=&source=gbs_api

註釋With these works, I want to achieve what I call a baroque abstraction of representational painting. The baroque, with its concern for surface effects, mutability, transparency and disguise, provides an approach for me to talk about the mixed associations painting can bring about. To do so, I combine the gestural marks of expressionist painting with the decoration of textile design, the colours and shapes of microscopic photography and the simplified forms and repetitions of cartoon graphics. The paintings are assertively decorative; they are all images and 'about' images that sit on a surface, sometimes like a sticker, sometimes like a reflection, sometimes like a tattoo. But I want this surface animation to be suggestive of psychic depth. I wish to suggest an archaic form of plotting a surface, with the trail of the brush marking stages, places and possible events. I'm intrigued by how Aboriginal painting, such as Paddy Bedford's work, and the Ngayartu Kujarra by the Manyjilyjarra women of Punmu, use map making and path marking to present historical and cultural landscapes in an intensely decorative and patterned manner. My intention is that these paintings are map-like, showing our own negotiation of physical and cultural spaces, looping between the internal and external worlds. The improvisational process of scribbling and curlicued lines reference Roberto Matta's scribbles and accidental blobs which he incorporated into denser spatial patterns and ambiguous forms. Abstract expressionist/graphic gestural practitioners such as Twombly, Appel, or Michaux are part of the wider historical lineage; and recent painters like Charline von Heyl have contributed to the formative conditions of my practice. The scribbles, meshes, and twisting lines lead to a number of associations: the rhythm of flax-fibre fishing nets and winding paths, tangled electrical leads, long-exposure starlight photography, and the fizz of static. Oblong swatches of colour, stripes and polka-dots allude to colourful modern fabrics: intensely patterned Liberty prints from London and limited edition sneakers from Vans and Nike, visual cues that suggest cultural diversity and creative confusions. The large painting 8th October 2014 wraps like a bolt of printed fabric around its wooden frame, not just revealing process (produced loose, stretched later), but acknowledging the form of cloth when it is stretched over the body, or on hangers, folded on shelves, and around patterned, upholstered furniture. Rough forms that interrupt the patterning shift at slower speeds, representing unfettered, floating spaces like that of interior cellular activity and the marbled liquid slides of 60s psychedelic light shows. By moving each component differently - to float or scrawl, point or effervesce - I attempt to create a tempo and sequence that signals a proposition that remains open. I wish these works to propose a baroque convergence of the decorative and the disorientating.