This work is part of an ongoing investigation into the diagram as a pictorial device in painting.
The process of making involves working with paint horizontally on a flat surface. Acrylic paint is trapped between layers of transparent film to build the image. Acrylic paint in liquid form is isolated from both air and subsequent layers of working, only at times penetrating the layers of membrane and bleeding out into one another. The isolated layers of transparent and opaque pigment create an illusion of the paintings ‘thickness’.
In material, the paint’s liquidity is suspended, unable to harden due to its lack of exposure to air. The work is in flux long after the layering process is completed. Its horizontal address of working is unable to be shifted to the vertical address of the wall for viewing without intervention.
Digitisation of the image through photography and it’s reproduction through pigment printing allow this vertical axial shift to occur. The resulting illusion of liquidity in the reproduction indexes the horizontal address of making.
The work questions the convention of a printed image (of a painting) as a reproduction. Perhaps the work could be described as a painting for print.
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