ONE THING BEGETS ANOTHER

Despard Gallery, Hobart
16 Aug - 9 Sep 2013
 

Statement:

This exhibition is a series of work concerned with camouflage - in the sense of how one thing relates to another, rather than how one thing hides from another. Specifically, they mark a continuation of my ongoing interest in media processes, knowledge systems and power structures. The works evolve through an engagement with materiality: the plexiglass substrate mediates the subject and the ground whilst continuously occupying the territory of object just as the application of spray paint oscillates between transparency and impenetrability across areas of the screen. Masks have been employed in the creation of the work to continuously reveal and conceal areas of the substrate, an additive and subtractive force at play. These masks, or stencils, are matrices, semi-random in their creation and deployment. The framework for these matrices is one thing begets another, each cut line informing where the next occurs, and each layer arranging and colouring the next. These matrices operate individually and collectively, often intersecting to create new arrays of arbitrary quantities. Enmeshed within the matrices are elements of form and colour which occasionally coalesce into figures or symbols. These areas have been treated with paint in much the same manner as has the rest of the matrix.

The video work, Entropic-Extropic, mimics the methodology employed in the painted works via a different set of processes. Fine particles of paint, dust and detritus have been manipulated to coalesce and fragment according to my level of interest and surveillance. 

The Death of David Walsh is a painting that has been created using a wire brush attached to a power drill. The areas of image have been subtracted from layers of flat paint by vigorously applying the abrasive tool to the reverse surface of the plexiglass. Each successive layer of paint concealed the previous layer in such a way that the forming image was continuously hidden from view - resulting in a painting that was painted, or un-painted, before it was seen in the manner that you are seeing it.


Jamin, 2013