A reflection first:
This first symposium was hugely rewarding, hearing about the others on my course and having the chance to introduce my own work. I have revisited yesterday’s Skype session, as I am very keen to get to know everyone properly. The feeling of being connected, of having more and more in common with others, is really thrilling. I have worked on my own for a long time, by necessity, in order to get to the bottom of my painting and understand it well enough to see the world more clearly through it. For this post’s header I have used the image of an earlier painting titled Absence as Presence as it seems apt in representing this new community I am part of, thanks to living in this marvelous digital age.
MA Visual Arts Fine Art digital at Camberwell, UAL
The following was my own online introduction:
Over many years, I have come to understand my painting as a cultivation of the Negative Capability embodied by the medium and the supporting surface, developing a studio-based practice which attempts to articulate this. I am particularly interested in how processes such as homeostasis and Brownian motion might be embedded in painting, to manifest as an open question concerning a commons. For me, a painting’s potential is defined by that which it does not possess; it stands as a reflection of the inherent lack of certainty that characterises our lives. A painting does not need to be clever – things can never really be fully worked out – it exists in uncertainty. Dealing with the physical and historical stratifications inherent in working with the oil medium, is like a mining, with all its implications. As a painter, I would like to contribute to the MA Fine Art (Digital) research project at UAL Camberwell, that’s exploring and defining what art is in the digital age.
A recent collaboration with Thai-American poet Nicholas Gulig:
Earlier works at my website, and MA blog: