oxidation three Painting

100 cm x 100 cm x 2.2 cm oil on canvas The painting has been made by placing stretched canvas on the floor. A brush being loaded with paint and then tapped gently above the canvas to give a spray effect; the surface becoming made up of small dots and splashes of paint giving some surface texture; although this is quite minimal as the paint is heavily thinned. Layers of paint are applied one at a time; wet-on-wet or wet-on-dry, and each layer of varying tonal strengths to the last, depending on texture and visual effect desired. the picture plains central motif is a 'h' like shape laying on its side that has no defined edge. The surrounding area is made up of tonal variations of indigo and grays with some black dots and splashes. The surface has been completed with an all over covering of white dots and splashes that help to fog the image. The painting appears sprayed on but is not. The painting is signed, dated and titled on rear. Ready for hanging. I began to take interest in dust particles created from the crumbling surfaces of corroding materials such as concrete, plaster and rusting metal. Marks and splatters of spray from spray caned graffiti also became a point of reference. I was looking at a way of breaking down the solidness in my work, to create separation; similar to the idea in science that mass and the solid are made from many particles vibrating together. These observations of the dust of decay and thoughts on the solid being made of separate particles led to experiments in creating a similar texture in oil paint to that of the corrosion dust and spray paint. Through loading a brush with thinned paint and tapping the brush I achieved desired effects. These paintings are concerned with integration/disintegration, form/formlessness, existence/non-existence, instability and the transient nature of life and phenomena. Echoing our modern times where much that has been relied upon and trusted as substantial, solid and unchanging has been questioned and broken down. These themes and ideas being informed by my own practice of Nichiren Buddhism and the study of Buddhist concepts that discuss the transience of life and all phenomena as well as the cyclical nature of life and death. The ideas behind the work have also been influenced by earlier interest in Taoism. The Tao concept of ‘Way’ through which all things arise and pass away; the distinction between being ( yu ) and nonbeing ( wu ) is also present in the ideas behind these paintings. The compositional arrangement in these paintings have been considered from Japanese aesthetic principles such as Ma – to empty or open, and Wabi-sabi – valuing the quality of simple and plain objects. And, the concepts of silence and emptiness as expressed in Ch’an ( Zen ) Buddhism. I was conscious of the importance of space and emptiness, a space and emptiness for something to form, or the space and emptiness left where a form once was.

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:39.4 W x 39.4 H x 0.9 D in

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