Orchestrating a painting practice through Mimetic applications.
Through the definition of a specific formula, a process of content generation with interchangeable elements and visual approaches for the making of the works was enabled. A process of imitating photographic reproductions of artworks directly influenced an orchestration of paintings through the manipulation of the painted surface. This orchestration is focused on a specific viewing experience which includes close attention to both the painting structure and communication of ideas.
A core influence on the work is found in mediated images sourced from the screen or photographic reproduction, the work takes on the inherent qualities of the mediated image: authorless simplicity, blank objectivity, flatness of pictorial space, superfluous detail and a singular sensation of space within the photographic image. These qualities contribute to a dualistic character for the works as attention is directed towards the structuring of a painting as well as the expressive or communicative potential of the painted surface. The assimilation of these areas of investigation operates among the fluid boundaries between abstraction and figuration (the painted mark and the motif) through the depiction of a constructed world with recognizable elements of reality.
Through the definition of a specific formula, a process of content generation with interchangeable elements and visual approaches for the making of the works was enabled. A process of imitating photographic reproductions of artworks directly influenced an orchestration of paintings through the manipulation of the painted surface. This orchestration is focused on a specific viewing experience which includes close attention to both the painting structure and communication of ideas.
A core influence on the work is found in mediated images sourced from the screen or photographic reproduction, the work takes on the inherent qualities of the mediated image: authorless simplicity, blank objectivity, flatness of pictorial space, superfluous detail and a singular sensation of space within the photographic image. These qualities contribute to a dualistic character for the works as attention is directed towards the structuring of a painting as well as the expressive or communicative potential of the painted surface. The assimilation of these areas of investigation operates among the fluid boundaries between abstraction and figuration (the painted mark and the motif) through the depiction of a constructed world with recognizable elements of reality.