A Net to Catch the Real World
My work draws extensively on the
visual language of the diagram and, more
recently, the map. I attempt to shift
the balance among the visual cues we use
to orientate ourselves and purposely
misunderstand diagrammatic elements as
objects in the world rather than purely
as information carriers.
When
points of orientation shift, maps become
nothing more than stories we tell
ourselves. And the shelter offered by
these stories shrinks when we are unable
to reconcile them with the world around
us. In pieces such as Lost Person
Behaviour, only traces of a process of
mapping remain.
The works in The
Method of the Moment examine the change
of emphasis that can occur between
elements of mapping when their intended
purpose is subverted.
Lines of various kinds will continue to play an important role. As well as emphasising or obscuring their own paths, my painted lines can be drawn on top of previous lines or incised into them; they can alter or disrupt existing lines, or create the illusion of doing so; the relationship between the lines visible in a painting and those with which it was made is fluid. The small-scale models I build are increasingly taking the form of lines, points and symbols, and my representations of them in paint inhabit the same pictorial space as lines that simply reflect the gestural trace of their own making.
I have become increasingly interested in different ways of thinking about and categorising lines, and the roles they can play in visually constructing information. They allow me to reshuffle and rebalance my subject matter, enabling a slippage between the virtual, the modelled and the real.
Kafayı yemek.
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