陈列您的艺术作品给每天无数的访客观看

The use of photography and painting has become a constant dialogue in my work. The need to assess how to apprehend an image through photographic means is problematic and intriguing. Relinquishing and gaining control throughout painting allows me to converse with my self about the personal nature of my work and the relation to the mechanical process of photography.
The materiality of the photograph itself has an important emphasis on the reading of the image. If the photograph is treated in its basic form it constitutes a surface stained with colored inks. The processing of a photograph on different surfaces can make a painterly representation of an image because the photograph becomes concerned with the materiality of surface. Photography then becomes closer to the debate about the value of surface material and the duration of such an image. Painting works within a historical context of creating an image that has the intention to endure time. Photography however often has a more transitory nature due to the lack of permanence and materiality. I feel this is where my concern lies: that is, the relation between how an image is processed and the personal apprehension of that image.


A recent intention within my painting has been learning how to make decisions about what to extract from the photograph and how to progress from a pre-existing image. The process of painting allows me to converse with myself about how to exact an image. My painting starts off being a representation of a person’s character and it ends up becoming involved within the processes of painting through analysis of photography and using the medium of painting. I will begin by drawing out the image from the photograph then immediately eradicate it; this process is repeated a number of times until an initial form of a figure has been placed. This process is an attempt to resolve the photograph and turn the image into a new form: Altering the form of the figure and distorting the original image creates a fractious image with a history of decision making apparent on the surface.
I am interested in contrast between the outline and blurred/dragged lines. The outline delineates the space defines the figures boundaries. Blurred or dragged marks distort the shape of the form and suggest transition or movement. Drawing the outline is seeking to consolidate the image whereas blurring seeks to corrupt image. The interplay between forming and corrupting an image has a direct link to the way I memorize an event. Initially, I focus on a particular person in a direct or linear sense but there is a constant interplay between wanting to remember accurately (linear memory) and wanting to use the memory to its fullest extent. The corruption becomes part of the memory process and often allows me to remember in a more versatile way.
For example, the surfaces I use allow me to relinquish some control by using different degrees of shininess. I often make the surface very slippery to enable me to lose control of the paint and allow images to emerge through the painting process. My paintings I operate between gaining and relinquishing control over the image: an engagement with the surface and the subject matter. A conversation takes place between the medium and the photograph from which the painting is based. The subject matter of my paintings is based on the figure although the way in which the figure is through a number of contexts: movement, action, shadows, groups and individuals. The important factor is there needs to be an event involving people to capture through photography and translate into painting.

Lie Sun Tate 1

2005
120 X 80cm