Alicja Dobrucka
Alicja Dobrucka
Ansel Neckles
Caroline Kelman
Dylan Byrne
Ian Thompson
Jamie Laurie Lucy
John Jones
John Leigh
Kam Memarzia
Kerry Nash
Maria Inigo Clavo
Mark Cummings
Mark Cummings
Mark Cummings
Nicola Wake
Parisa Star
Paul Clark
Paul Clark
Paul Cummings
Pauline Miligan
Simon Attwater
Tom Baker
Tom Baker
Tracey Moberly
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This is the latest landscape I have been working on and this scene depicts the East End of London representing the lowest end of the social income scale and is a locality of which the majority is surviving off welfare or otherwise on a very low income.
The title of this image 'Spice Cottage' suggests what a Halal fast food outlet may call its self and demonstrates a functional re-appropriation of usage and also the cultural shift that has taken place over time in this impoverished migrant zone. This Victorian building implies that it serves two trades at ground level the shop dispenses blessed processed food through a sterile utilitarian operation and the top red window conspicuously offers one of vice. They are similar in the fact that one serves live flesh and the other dead flesh but nether the less it's a forced co-habitation of contrary ideologies.
An ad hoc vista is assimilated from the remorseless post war redevelopment that surrounds the subject matter. With an office butted tightly up against the shop with tower blocks rising ominously further behind. A flyover intrudes from above to cut up the city and communities with its inappropriate town planning. This picture clearly shows the rapid demise of the last expansion and social housing plans in the 50's and 60's.
In this passage of text I will attempt to rationalize the series of paintings that I am embarking on, some are complete and some are yet to be painted. I will give an overall explanation on the context and meaning but also align these paintings to photo-realism and its concurrency to hyperrealism but also how it departs from the latter. I will also rationalize my psychological impulse for creating these paintings and explain to a certain extent the methodology of production.
In this continuing series of six paintings I am working on a documentary and critique of class and social economy. The body of work comments on the irony of the income scale structure that predetermines the habitation of our failed utopias. To compound this further the work demonstrates the pervasive infrastructure that is a persistent reminder of the inescapable dependency from the system we are assimilated into.
This series has similar notions to Daniel Defoe's A tour thro' the Whole Island of Great Britain 1724 to 1726 which was a survey of industrial England and re-enacted as a film by Patrick Keiller titled Robinson in Space 1997. The paintings are laden with its suggestions of industry and infrastructure however the paintings point more specifically at the domicile.
This approach of a documentary style as one would assume seems to follow the same intentions as the photo-realists. This is not the case as this group did not pursue the agenda and was only implied by uninformed critics. However it was the purpose of the photo-realists to depict the immediate social landscape and recreate it explicitly. These paintings follow this concept but with an added attribute of conscious anthropology and the intention with these paintings it to produce procedural bracketing of property value and social economic class.
The work also attempts to parallel the photo-realists in another ways by accurately depicting its source material, as in the case with the photo-realists all forms of printed media were accessible to them as with the advent of digital media is accessible to us today. David Hockney is who one of the progenitors of photo-realism is exemplifying a move into a new era of digitalism by procuring images using his I-Phone. His attempts have resulted in more of a painterly style than one would expect from the use of technology. The resulting prints are more organic than previous works such as the Splash painting 1967; Acrylic on canvas, which is more pertinent to a rectilinear vector based style of digital graphics. Back then in the 1960's with an increasing interest into photography and his move into acrylics he discovered the relationship of interlocking surface of colours by reducing his painterly approach to merely smooth flat areas. For Hockney this was an achievement as he created a style without style, one that had anonymity of surface.
The surface quality of these paintings can be distinguished in to ways, the homogeneity of object surfaces within the picture plane and the unified skin or film that is the entire surface of the painting. The object surfaces are similar to Hockney's acrylic paintings but the reference for imitation is the digital realm and particularly vector and low polygon count modeling systems.
This reductionism allows for flat areas of colour with some shapes containing gradations that interlock with precise edges that at times are almost uncomfortable to look at. This nether the less creates illusionist planes, distances and objects with an undifferentiated cohesive surface. The skin refers to the flattened frontal surface and adduces to the glassiness of VDU's and Plasmas Screens that are unmistakably flattened and precise. The palette also parallels the screen with its illuminant hues and vibrant saturations punched up the to last acceptable level. Adding further to this illusion is the limited range in the palette that is based on RGB and HSL systems, that do not cover a full range in their gamut.
The relationship between a flattened surface and illusionist depth is continually oscillatory and depending on relative distance of the viewer, perception of space rapidly disintegrates on close inspection. On the other hand these paintings have been produced on a large scale specifically for the gallery space, allowing the viewer at an appreciable distance to take stage and enter the picture plane and regain reality.
Inspite of the fact these paintings appear digital they still allude to a certain extent to large format photography with its perspective having parallel verticality, the squared proportions referencing Polaroid's. This photographic quality asserts a link back to photo-realism and is a reminder of the ambiguous and contradictory relationship to the indexical. While photography represents the temporal, a slice of time, a painting of a scene has no relevance to time and is not a captured past but an unfolding present. But with a painting of a photograph in essence short circuits the indexical status of it source. This excerpt refers to The Painting of Modern Life, Ralph Rugoff, and p14 pp2. The digital realm has even more ambiguities by offering any point in time. Therefore the image derived from this space is still an index but at least a selectable and even a reversible one, but this is not like film or video either, that are a sequence of indexes it is more than that. It is truly fourth dimensional where any pocket of time can intercepted and manipulated, forms can also be observed from multiple views at will, forms themselves can change infinatley. But it must be noted that this takes place only in the working stage of the painting, it is eventually fixed like a photograph when it truly manifests as a painting.
It is also very important to state that these images only simulate reality and they are actually a work of fiction and made to appear familiar and candid. This photographic quality is one element of the trickery and the banality is another. The progressive narrative from photorealism to virtual realism is bridged by hyperrealism, which in essence these paintings are. The methodology practiced here allows for a certain amount of manipulation thus creating a new reality and not just a faithful rendering of a photograph. The intention with this series of paintings is to go further than hyperrealism and thus create a new definiton 'virtual realism', which is still a coherent oxymoron and can be explained as a digital virtual landscape or a re-simulated reality that Umberto Eco discusses in his book Simulation Of Hyperrealism. The painting "Road Side" exemplifies this succinctly as it purely digital in its origins. Lets us not forgot the ordinariness of the subject matter but it is the virtual aspect that glosses over the neurosis and attempts to make the banal more palatable yet it vacillates disconcertingly between these two values never holding onto one indefinitely.
What is the impulse to create these paintings? There is an uncanny anxiety caused by the observation of the incongruous entropic order systems that modern society has developed into. Visually the modern world appears utterly bland with low aesthetic and high function concepts that society is ordered serve for production and profit purposes. The neurotic impulse tries to sublimate these appearances and to transcend it. This has been achieved by smoothing out the details of reality by eliminating roughness and texture. This has been theorized by Edmund Burke wrote about smoothness in his book titled A philosophical Enquiry Into The Origin Of Our Ideas Of The Sublime And Beautiful' p143. A sense of light and atmospheric moment suffuses a rarefying effect onto these mundane scenes stimulating emotive sensibilities. This rendering temporarily holds back a nervous condition to some extent but is no cure. Humor is also a way out of the melancholic situation by finding the ironies in the failings and idiosyncrasies of everyday environments and situations. Ralph Rugoff states in the book The Painting of Modern Life, p12 pp5. While referring to the photo realist painters he said, "These artist regarded the banal as far from being trivial... Banality is a potentially rich and revealing vein of anthropological data". The contrived has been invented extremely economically and it invokes memories of places and social values that penetrate face value of representation with trivial symbols unfolding with loaded meaning with every aspect of these canvases being readable.
In terms of production these paintings are purely derivative of a digital environment and made to imitate it. A finalized image is translated onto canvas and is a total facsimile of the master print. By painstaking technical means the painting comes to life from a single image and a single slide that is used to outline the composition and structure. The final image would have undergone a myriad of revisions and manipulations before completion. The screen with its accompanying software acts as primary canvas or sketchbook.
These images are composed from multiple sources, original photography, digital photography, from the Internet and from CAD models. Some material is directly incorporated and in other cases just referenced. With some images such as "Road Side" the composition was entirely modeled with references all originating from the Internet. No distinction is made on the source material other than to serve a purpose. What is interesting is that in cyber space there are a plethora of images and objects to be plucked from an almost infinite repository that is instantly accessible and re-usable. And unlike the printed photograph that is utterly fixed the digital image or model can be held in a transient state that can be manipulated and re- manipulated until perfected in essence still plastic and perpetually residing in a formative dimension. Photography in its self has been changed by this phenomenon and can be regarded no image can ever be candid anymore and much akin the to the intention of these paintings.
Smiths and the Jones 2009 Acrylic on canvas 8ft by 8ft
Its apparent this painting is of two halves and that there is dichotomy between the working class and lower middle class who in effect are illuding to middle class-ness. The house on the left demonstrates the aspirational with an expendable income for house improvements which increase its property value. Where as the house on the right is on the contrary showing signs of decline either by neglect or impoverishment. The irony in this is the heterogeneous combination is inextricably tied by the very fabric of the building. Optimism shines over the aspirants and gloom and a foreboding storm over the other. An attitude of guarded privacy resides with one where as nakedness and exposedness with the other. Cooling towers are a distant eye saw and are a reminder these out of town houses were constructed for local workers to service the infrastructure. We can also expect by this that maybe white collar is living next to blue collar.
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Road side 2009 Acrylic on canvas 8ft by 8ft
This painting is shortlisted for the prestigious Threadneedle prize 2010 see it in the BBC news website
A get away journey by car offers a fleeting moment of another failed utopia. A cottage conjures its self up as a romantic symbol of a bygone age only to relapse into a modular new build with a faux Tudor façade built to a Bankers specification. Possibly a second home that's certainly fallen short of the ideal. Merely it is perhaps a practical decision of commutability and affordability? The topology here is intended to represent a low lying agricultural area possibly an estuary on the fringes of heavy industry offers a fallacious rest bite. The water works suggests a release of invasive odours into the air which already seems contaminated by languid atmospheric dust. This idealised landscape is dissected by the thoroughfare of road, rail and air; nothing in this environment is left to its natural order. Every portion and aspect of the landscape is managed and unitised by mans intervention into a self interested support system. Rural escapism becomes a paradox and the obstructing road barrier is instrumental for this metaphor by limiting access into the picture plane, It also works on another level too where the barrier to the virtual world is wholly inaccessible to the physical body.
This unflattering and ordinary landscape is completely imaginary and can be perceived as a pursuit of the picturesque but it is also a displacement into a virtual realm. This image is by far the most synthasizedl in the series and it is completely derivative of the digital environment. The entire scene and the objects within the image have been modelled from references found on the internet as second hand observations. The cottage and road and barrier and other constructions are recursively re-simulated objects. Their origins would have manifested in AutoCAD only to go through the same process again and then to be re- represented. This scene is a reminder of Julian Opie's work with its ageless fetishistic surfaces and generic modularisation. This association is recognisable in the works titled 'imagine its raining' 1992 which is a group of sculptures based on housing units which defines the modular. The artwork 'Imagine you are driving 1993, acrylic on wood 93 x123 x3cm pertains to a similar virtual world as portrayed here but in this case the artwork is synonymous to a computer racing game environment.
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Two Point Four 1999 - 2009 Acrylic on canvas 8ft by 8ft
Two Point Four is the national statistical average for the amount of children that a typical family would raise in the UK that figure has some what changed recently but was applicable in the nineties. This image pokes fun at this demographic number and exemplifies it by repetition of its themes. This type of dwelling unitising a typical family is specifically constructed on large estates for the purpose of housing first time buyers acquiring affordable property. With its bland uniformity of minimal design and highly reduced lawns and driveways it is imaginable that it could bifurcate into cul-de-sacs infinitely in similar patterns to the bronchioles of the lungs stretching out in massive swathes across brown belt areas of England. The air is alive with the crackle of EMF resonating off the pylons and as much again is being received in different frequencies by satellite dishes, radio and television aerials exasperating the fear of inducing leukaemia. It's a neurotic hell for the working class lot.
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Smiths and the Jones 2009 Acrylic on canvas 8ft by 8ft
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Paul graduated from Cheltenham University in 1999 with a BA Honors under the tutelage of Anita Taylor, Bob Davison and Paul Rosenbloom.He has been working for the last decade within the creative industries as a digital art director within marketing and advertising for some of the largest global agencies producing work for international brand names. His current location is London and particularly the East End where lives and has a studio. Paul has been painting and producing print work that have been gaining popularity from the outset. His professional knowledge of the digital environment progressively impacts on his traditional fine art practice that he is currently engaged in.
Some of his latter work has dealt with the cruxes of manifesting the digital and virtual concepts into paintings, and attempts to solve the conundrums of translating space and dimensionality onto two dimensional surfaces i.e. painting. This also puts into question its intervention to the spectator. This work has been expressed pictorially and abstractly but nether the less in a similar oeuvre that is distinctly his style. However his work over time has departed from this theme to a more critical and analytical intensity investigating the zeitgeist of societal values and contemporary culture but never quite letting go of the virtual origins that is the starting point of all his work.
Using particular sources such as photography and images scoured from the internet including 3d objects has allowed Paul Cummings to construct a fallacious realism by using advanced digital processes. The final images are then translated as a perfect facsimile into paintings. His work vacillates between reality and its virtual origins undecidedly never settling for one or the other. This fetishistic flattening of surface suppresses a neurotic anthropological undercurrent that is present within his works. His observations make a subtle pun on societal values but he also sublimates the banal in a precise rarified manner. His work and influences are a derivative of photo-realism and its concurrent movement hyper-realism.
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Office Girl VRS 20001 Acrlyic on Canvas 24" by 24"
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Office 2001 Acrylic on Canvas 24" by 24"]]>
Virtual Reality Space 2 1998 Acrylic on Linen 90" by 34"
Both these paintings depict a synthesized modular domestic unit solely functioning as a transitional space between the indoor and the outdoor and the thinking here is the contained and the uncontained. These paintings similarly imply a transitional space that defies the Euclidian and essentially represents an unfolded dimension. There is also a disparity between the smooth finish of painted areas against the textural surface of the raw linen of which both ascertain and deny physicality. These ideas follow on from the Cubists who depicted their forms with multiple view points and allowed for paradoxes about space itself.
The paintings reference the fourth dimensional hypercube which allows it self to be viewed from the inside out and simultaneously from the outside in. The crux of this situation is that this kind of space is perceptible but paradoxically physically impenetrable. This concept of the virtual space also has a resonance with the digital environment that these paintings were derived from. Computers allow us to manipulate the three dimensional space but only through a projected screen which is merely an illuminated two dimensional surface. These paintings attempt to reveal this paradox and the disjunctured relationship with the fourth dimension. A very interesting way to learn how to percieve dimensions is to read Flatland by Edwin Abbott Abbott.