New Contemporary Paintings
Although produced within the last weeks leading up to the debut solo show GRANDFATHER, the newly exhibited paintings show a depth to artistic control and determination, foreclosing theory and existential texts in favour of lifting a paintbrush and using it for it’s key purpose: to paint.
It would seem daunting to keep throwing around posts about creating new pieces of work which either have or have not fruition-ed but that is just one key lesson learned on this Graduate Residency, to be mentioned at the evaluation meeting soon.
Without applauding ones self, the paintings continue the Surrealist practice of automatic painting, commissioning the painter to imagine imagery out of the mind. Abstracted from real-life, and turning the inanimate animate or the blackly comic into colour has been an astounding experience, contemplating the ability to be in control of ones life and thus their practice.
Speculating the described image below in intentional, allowing for viewer’s to accumulate their own interpretation’s of it’s picture plane:
Painting: Polish Sausage (Kabanos) – see website
A grass green background accentuates two folded rectangles, one pink one purple. Accompanying the oddly abstracted currency notes are three brown saturated pieces of food (the eponymous sausages) that have spawned two eyes. To top the picture, a diluted aqua blue puddle shaped smile sits adjacent to the lower right corner of the piece, producing an overall face that is shadowed by hints of a darker shade of green.
Without penalising or mocking the visually impaired, this description hopefully makes a point that without describing the context of the image, and without producing a photograph of the titular painting, the viewer can imagine it in much the same way as the artist has imagined its improvised production.
For actual images of the work included in GRANDFATHER, please visit the author’s web-link at www.adam-kelly.com
