Nigel Grima
19 Hardbrook Court
Audley Road
Chippenham
Wiltshire
SN14 0QZ
Tel. 07882493492

Profile
Nigel Grima

Abstract Art - a contemporary definition;

I make abstract images, through the manipulation of digital photography. Current evidence seems to suggest that abstract art is ambiguous and expressive. I believe the former must always be true but the latter is open to conjecture. This is because ambiguity cannot be expressive (expression is defined at source, ambiguity is not).

However it is unlikely one cannot be entirely without expression. As a result, I believe my work shows signs of repression, a form of expression. But whereas expression is exposed, repression is hidden and therefore aligns itself to ambiguity.

Techniques employed;

Some of the techniques I use comprise of-
. Hiding - This is the utilisation of Picassos simplified formal language. I confuse scale by making forms either textured or smaller, receding in scale. Through blurring; the surface ( plastic in nature ), the space and the designated edge of a form appear less distinct. I photograph relief collages through a narrow depth of field, using the out of focus parts to hide the technique. The appearance is tangible, yet indistinct.
. Escapism - I use the camera as a tool within photography because it enables me to capture how I physically see. I also document effective subtle changes that I cannot achieve through painting. In effect, I believe a photograph appears to be more convincing than a painting, because its a better distraction from reality.
. Medium - I vibrate a kaleidoscope like collage so that it changes randomly according to itself. I also use set formulas to mechanise my editing and composition. As a result, the images content is less contrived, enabling me to be more emotionally detached from its process.

However, I dont intend my art to be perceived without emotional content, the resulting piece can be very emotive. I would like the viewer to respond independently.

Impact;

My images tend to parallel with modernism and fractals, because I employ a lot of their techniques to construct repressive processes. My images also demonstrate how modernism and fractals parallel each other. Evidence suggests that 3 characteristics denote a fractal- form similarity, form similarity in scale and spatial similarity (relief). Modernism possessed remarkably similar techniques such as Monets similar brushstroke dabs which flattened the painting like a pattern, Cezannes passage technique let forms be in the same plane, Picassos harmonious simplified formal language enabled variations of the same form to be on the same plane and Pollocks progression from the unconscious practice of automatism to chaotic drip painting allowed for consistent arrangements in composition and scale similarity.

What is it? This is often asked to me when an audience views my work. My reply is vague because Im unsure. I would consider my images to be abstract, but they may not be regarded as so. By striving to improve abstract art, I may have altered it. If so, it could be considered as, Post Abstract, Abstract Realism, Abstract Graffiti, Fractal Expressionism, Progressive Modernism or Contemporary Religious Painting. Alternatively, I could be redefining what is considered as abstract. Ironically, its difficult to define something which is intentionally ambiguous.