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Posca on board [36 x 28cm]

This is one of a new series of drawings, and a return of the use of Posca paint-markers in my work. Following on from the geometries of recent work (based off the twelve point division of a regular format), I compose a pattern across one third of the board and then repeat and extend tessellated segments edge to edge. This is both a way of discovering unique shaped figures within a regular format and filling that regular format (rectangle) completely.

After so much shaped work I often return to standard formats to develop an approach for supporting work on canvas and to exercise a thorough understanding of the patterns generated.

The unexpected appearance of these patterns is enticing as I see their parallel to digital glitches on computer screens or a bad signal on a cathode-ray tube (CRT) television, producing analogue distortions like a vertical hold rolling screen.

©ADG2020

Space Filler

            Acrylic on hand shaped board [122 x 61cm]

A new painted object that subsumes all my previous work into one intersecting point. The twelve sided face (dodecagon) is cut from a standard rectangular board. Pulsating coloured lines weave internal geometries across the surface and three textured neutral tones hold illusory light and shadow like the facets of a cut gem stone.

This object can be hung on both vertical and horizontal planes, with no right side up. The space of nothing in the centre can be read as the closest face of the object and simultaneously as a distant void.

All rocks are from outer-space.

 

©ADG2020 

Fabricated Memories

Acrylic and permanent marker on hand shaped board [81 x 51cm]

From the beginning of this year I have been working with a geometry based within a twelve sided shape (dodecagon). It is a fascinating limitation to work within and over the past few months I have discovered a series of compositions that I am currently translating from drawings into painting.

The technique of this work is a continuation of previous paintings like 'Static Animation' and others made during 2018. In this variation I have used my present interest in the total spectrum of colour, which has also become a fascinating limitation to explore in and of itself.

The black marker was used in stages to cover the coloured ground while retaining visible traces of the scribbling process and allowing moments of translucent imperfection to expose the under painting. This was done as a way of maintaining qualities of the original drawing within the painted object, and to display qualities of 'rainbow scratch paper' for which this work was partially inspired.

©ADG2020

Acid Test

Acrylic on canvas [51cm x 41cm]

It has been difficult restarting my practice during the tumult of the COVID-19 pandemic. I had already been significantly disrupted during the past six months, moving house three times and spending a period of time overseas. I now find myself in a new place, without proper studio space and within the confines of restricted movement.

Throughout this time I have continued to draw and record a procession of ideas, new formats and associations to themes of time, space and the Sun. Things can move quite fast with drawing and I have much new work that I am eager to produce.

I expected something different from the results of returning to painting. This canvas was a compromise, starting small to get the ball rolling (so to speak), it has done its job and I am now working on some new shaped works and one larger canvas. All fighting for attention within my limited working space and sometimes chaotic, stressed out headspace.

It's good to be back.

©ADG2020

SNO 160 _Sequence Error

Install shots from my recent exhibition at Sydney Non Objective curated by Ruark Lewis.

This was a great experience for me, all the work was made in my Lismore studio this year and was a direct response to intense heat of this place. Acrylic paint seemed to dry instantly when applied to the surface of a canvas, which was a perfect condition for this one line at a time painting process. The climate here spurred me on, adapting my previous work of Posca on board to acrylic on canvas and into a scale previously unthinkable with the limits of paint pens.

All photos by Sarah Kukathas of Document Photography.

Screensaver

Vector illustration, [1,334 x 750 pixels (326 ppi)]

These new lock-screen and home-screen compositions were made for iPhone 7 due to a recent upgrade from my previous model (iPhone 5C).

This composition took many iterations to arrive at and I worked though various grid arrangements and colour sequences before reaching this point. For the colour I wanted to utilize primarily the additive scale of cyan, magenta and yellow where secondary and tertiary colours emerge through blending.

©ADG2019

_SEQUENCE ERROR

I am excited for my upcoming Solo show at Sydney Non-Objective in their new Rosebury location.

This will be an exhibition of new paintings all made this year in Lismore. The work is a coherent series of sequential paintings, starting with my first work on canvas (pictured) made with this technique, all the way to my most recent iteration.

_SEQUENCE ERROR will focus on my core practice of seriality, and display how I utilize this method to evolve, complicate and refine my work.