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, there is movement too.
This element of chance exists right from the beginning with this work. As I lay the inks onto the acetate there is an unpredictability about the possible outcome, and I do not know how it will turn out in the end. Once I can see the result I then have to make a decision as to how to use each final piece. Some of the most exciting work has been made with strips of acetate that might almost have been rejected.')){kind=small}
, there is movement too.
This element of chance exists right from the beginning with this work. As I lay the inks onto the acetate there is an unpredictability about the possible outcome, and I do not know how it will turn out in the end. Once I can see the result I then have to make a decision as to how to use each final piece. Some of the most exciting work has been made with strips of acetate that might almost have been rejected.')){kind=small}
, there is movement too.
This element of chance exists right from the beginning with this work. As I lay the inks onto the acetate there is an unpredictability about the possible outcome, and I do not know how it will turn out in the end. Once I can see the result I then have to make a decision as to how to use each final piece. Some of the most exciting work has been made with strips of acetate that might almost have been rejected.')){kind=small}
, there is movement too.
This element of chance exists right from the beginning with this work. As I lay the inks onto the acetate there is an unpredictability about the possible outcome, and I do not know how it will turn out in the end. Once I can see the result I then have to make a decision as to how to use each final piece. Some of the most exciting work has been made with strips of acetate that might almost have been rejected.')){kind=small}
' ,' ',' ',' This new series of work seems to be bringing together many aspects of my previous work in a curious and unexpected way.
Having chanced upon a roll of acetate I decided to investigate ways of applying colour to it. As it turned out some inks that I had in the studio adhere to the surface. Further investigation with solvents brought about exciting changes in the way the colours merge or break up. Applying heat one way or another allows me to manipulate the shape and texture of the material. It becomes three-dimensional.
And so this new body of work is allowing me to explore ways of breaking away from the canvas on a single plane. Following the example of Lucio Fontana, I already made some work along these lines in the past. With this new material, though I can now also offer a ‘canvas’ on three planes – the projected image on the wall behind the canvas and even on the plane in front of the canvas, as in the piece called ‘Summer Wave’. While ‘A Few Burnt Remains’ is a piece that I would say works on six dimensions – the three dimensions of the box that contains the work, the dimensions of colour and shadow that become apparent when a strong light is shined onto the work, the element of air that moves the delicately suspended strips of worked acetate and finally the dimension of time – sometimes the strips remain still but, when something happens to move the air (a door opening, a breeze through the window, someone walking past), there is movement too.
This element of chance exists right from the beginning with this work. As I lay the inks onto the acetate there is an unpredictability about the possible outcome, and I do not know how it will turn out in the end. Once I can see the result I then have to make a decision as to how to use each final piece. Some of the most exciting work has been made with strips of acetate that might almost have been rejected.')){kind=small}
, there is movement too.
This element of chance exists right from the beginning with this work. As I lay the inks onto the acetate there is an unpredictability about the possible outcome, and I do not know how it will turn out in the end. Once I can see the result I then have to make a decision as to how to use each final piece. Some of the most exciting work has been made with strips of acetate that might almost have been rejected.')){kind=small}
, there is movement too.
This element of chance exists right from the beginning with this work. As I lay the inks onto the acetate there is an unpredictability about the possible outcome, and I do not know how it will turn out in the end. Once I can see the result I then have to make a decision as to how to use each final piece. Some of the most exciting work has been made with strips of acetate that might almost have been rejected.')){kind=small}
, there is movement too.
This element of chance exists right from the beginning with this work. As I lay the inks onto the acetate there is an unpredictability about the possible outcome, and I do not know how it will turn out in the end. Once I can see the result I then have to make a decision as to how to use each final piece. Some of the most exciting work has been made with strips of acetate that might almost have been rejected.')){kind=small}
, there is movement too.
This element of chance exists right from the beginning with this work. As I lay the inks onto the acetate there is an unpredictability about the possible outcome, and I do not know how it will turn out in the end. Once I can see the result I then have to make a decision as to how to use each final piece. Some of the most exciting work has been made with strips of acetate that might almost have been rejected.')){kind=small}
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 as a Christmas present, but I can not resist a challenge. It was quite a challenge that had me wondering if I could bring the whole thing to fruition……not to mention the anxiety that I had while waiting for it to reach its destination in Germany and be unveiled by the person who had commissioned it – and then waiting yet again to find out if the sitter was happy with it too! Fortunately all were delighted. I called it Postcard from Cyprus. The sitter enjoys many long biking trips, and particularly likes biking off road here in Cyprus. Sinti Monastery, depicted in the top left of the painting, is a favourite haunt. Once again, the bike had to be incorporated, of course and this time I was also required to include a cigarette – he makes many cigarette breaks when traveling. What made completing this commission particularly difficult was the fact that I only had incidental photographs – and not very good ones at that – to work from. The last time I met the sitter before really setting to work on the painting he was probably wondering what was wrong with me – I kept staring intently at his face when I thought he was not looking, trying to burn its image onto my minds eye.
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 as a Christmas present, but I can not resist a challenge. It was quite a challenge that had me wondering if I could bring the whole thing to fruition……not to mention the anxiety that I had while waiting for it to reach its destination in Germany and be unveiled by the person who had commissioned it – and then waiting yet again to find out if the sitter was happy with it too! Fortunately all were delighted. I called it Postcard from Cyprus. The sitter enjoys many long biking trips, and particularly likes biking off road here in Cyprus. Sinti Monastery, depicted in the top left of the painting, is a favourite haunt. Once again, the bike had to be incorporated, of course and this time I was also required to include a cigarette – he makes many cigarette breaks when traveling. What made completing this commission particularly difficult was the fact that I only had incidental photographs – and not very good ones at that – to work from. The last time I met the sitter before really setting to work on the painting he was probably wondering what was wrong with me – I kept staring intently at his face when I thought he was not looking, trying to burn its image onto my minds eye.')){kind=small}
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