The work concerns itself with the manipulation of paint and its ability to manipulate image; as well as images ability to manipulate the construction and formalities of paint, questioning what is image and what is paint? Exploring the various levels of information needed within painting an image, exposing the ambiguity of resemblances and the instability of perception. By painting from popular images and re-painting from paintings further challenging the relationship between image and painting through paints own fluid materiality. Painting as an instinctive act, responding to an image and liberating painting from its formal constraint, the combination creates a static oscillation between paint and subject, in a battle to retain itself. Transforming the visual within the cognitive enabling semiological representatives.
Using paint as a signifier and the image as a vehicle directing the construction, manipulation and overall narration of the painted interpretation; paint thereby becoming self-signifying and overpowering the political context of the image it consumes. The language created from this method of working fractures the image creating a possibility for new readings. The creation of a heightened visual signifier through paint both challenges and uses the images pictorial structure to communicate its own dialect. The aims of the work are to create a space of connections and contradictions within the image making areas both undefinable a present at every level of understanding. The gestures aim to extended and locate anthropomorphic constructs suggesting a skeletal representation allowing our thoughts to project, objectifying our depiction. The representational content therefore becomes almost comic within its recognition. The battle for recognition forms a dynamic interpretation for each spectator. These elements help in constructing my own painting language in response to images, thus creating a dialogue between that of paint and image.
The subject matter is composed of images selected by the public already through the use of Top 10 lists, linking to Ranciere’s ideas of the media system, how it frames common ways of thinking. Images can link to our collective memory as they are images that have been mass-produced and we have experienced hundreds of times. By transforming each image through paint the image is made unique and an original, distilling the image from its overproduction.