Test Patterns

Digital vector graphics with colour ramp.

These patterns are digital experiments that continue from drawings previously made with coloured pencil. Here the focus is on whole shapes or negative spaces, while looking at how they interact and overlap. Static images that stand still like television test cards, used to assist viewers in the calibration of their TV set.

Sustaining this work has altered my understanding of composition, within the restrictions of the isometric geometry, and I continue with the intention that these techniques will be applied to painting.

©ADG2016

Fixed Air

Fixed Air, 2015 (Acrylic and ink on board). [115x60cm]

This was the final painting I made during my MFA, and was shown in the graduate exhibition held in December 2015 at the SCA galleries. Utilizing the vocabulary developed during my studio research, I feel this painting is the culmination of everything I learned. 

 ©ADG2016

La Boîte-en-téléphone

8.0 Mpx iPhoneography.

I always liked the idea of Marcel Duchamp's La Boîte-en-valise (Box in a Suitcase), a leather suitcase containing miniature replicas and photographic reproductions of his work. This portable miniature gallery, including sixty-nine reproductions of the artist's own work is perhaps today analogous to an online gallery, website or Instagram account.

Outside of the function of an omnipresent portfolio of work, I am particularly interested in Instagram as an accumulating series of photographs that reflect unconscious sensibilities of colour, form and subject matter back at me. When looking at these miniature tiles in totality, apophenic connexions become visible.

The ongoing nature of the account provides an impetus to look and consider my environment in new ways. While adding more images gives a greater total picture to discern, and reveals further qualities that would possibly remain hidden without the aid of this technology.

Visit Instagram @adriandegiorgio for all images.

©ADG2016

ROGUE I

Acrylic and ink on canvas, 110 x 88 cm (approx).


This is my first painting of the year, and my first work on canvas for many years. I had previously turned away from canvas in the search for pure hard edges.

Working on canvas requires a different approach, but I was still able to utilize knowledge gained from my previous work on board. The canvas facilitated a new desire for an in-between state of soft/hard edge, where the hard edge bleeds into soft edge as you approach it.

Different to all others, an impostor among it's peers. This is the result of changing conditions. An adaptation was needed, and this has arrived to fill the nothingness.

©ADG2016

Lock Screen II

Composition for iPhone V, vector illustration with digital collage.

With a larger screen (1136 x 640 326 ppi) the dimensions of the iPhone5 offers a new format, requiring a new composition.

Displaying this image on the lock-screen maintains the illusion that this is my phone. I know the hardware is not unique. It may be replaced entirely and like some kind of  Ship of Theseus⋄ it will remain identical. The image (among other user settings) is like the crew of the ship, the consistent element that sustain a sense of familiarity through time.

©ADG2016

Metropolis I

Digital collage.

"So let’s build a building of light: it could be a bundle of light, loops of light — or it could be points of light, the ends of extending tubes of light, like periscopes of light.  When a plane comes in, these lights guide the landing…"

Vito Acconci.

©ADG2016

From Beyond

I have now passed through the threshold know as the Master of Fine Art program.

This is an installation shot of my work from the postgraduate degree show held in December 2015 at Sydney College of the Arts.

This was the culmination of two years work, an evolution in form through persistent critical thinking and reflexive studio practice.

Big thanks to my supervisor Mikala Dwyer, for her constant support, frequent insights, and generous loving energy.