I see my works as a hybrid between Minimalism, Abstraction, Op and Pop Art. My practice involves furthering the concepts of reduction (of form; space; line and material), the effect of colour (visual; as signature; and psychological effects) and the experiential qualities of painting. By developing these concepts I am inviting the viewer into the space for a contemplative experience with the paintings.
A large part of my practice is working with the readymade, in my choice of materials and also by utilising industrial spray painting techniques and mixing my own Auto Lacquers. These techniques give an effect of the 'Custom Paint Job'. The use of pearlescent paint creates a perceptive challenge, as the appearance of the painting changes with the fall of light, the position of the viewer and the amount of clear pearlescent coats built up on the surface.
The surface of my work produces an illusionary field full of pictorial depth that shimmers and glows with light through the flat, reflective plane of colour. Recently my work with neon lighting further exploits the reflective surface of the painting; the neon light working in contrast to the painted monochromatic plane. This merges the concerns of painting and site: increasing the experiential component and highlighting the spectators' involvement within the gallery environment.
Image above: Giles Ryder
PROJECT ROOM The Centenary of Wild Beasts
Hany Armanious, Maria Cruz, Adam Cullen, Christopher Dean, Matthys Gerber, Shaun Gladwell, David Griggs, Elizabeth Pulie, Mary Teague, Arlene Textaqueen, David M. Thomas, Simon Barney
The Centenary of Wild Beasts' is a salon-style show which faintly echoes the spirit, diversity and freedom of Fauvism - a relatively informal and liberal movement which predates this exhibition by exactly 100 years (1905: 'Salon des Independants' and 'Salon d'Automne'. Les Fauves (translated as the wild beasts) dazzled and bewildered people who encountered their paintings with their vibrant use of colour, bold gestural brush strokes and apparent absence of any common doctrine or principles, gaining the reputation as the most experimental group of painters working in Paris at that time. 'The Centenary of Wild Beasts' draws upon the individual approaches of 12 contemporary Australian artists whose paintings or art practices capture something of the Fauve.
GREY MATTER was established in 1999 to help generate interest, debate and energy in contemporary art through a spontaneous evolving programme of challenging and speculative exhibitions and events. It is ideologically committed to encouraging increased curatorial experimentation and artistic activity. GREY MATTER's curatorial approach is adaptable and varied, but is prone (when appropriate) to a highly visible and exaggerated curatorial presence that exposes the mediating role of curating and exhibitions by making the unseen seen.
As part of the exhibition at MOP Projects, an existing wall was extended to form a partition across the main gallery. The wall is situated approximately 3 metres inside the gallery entrance and is the site for the salon-styleexhibition. The partition wall is intended to function in the following ways: to change the dynamic of the usual format and order of the MOP experience; and to create a visually intensive wall that confronts the gallery visitor upon entry (in keeping with the initial impact and attitude of Fauvism in 1905). The wall is painted a colour inspired by Boats in the Port of Collioure (1905) and Portrait of Matisse (1905) both by Andre Derain, with the exhibition title hand-painted in bright green lettering to echo Henri Matisse's Green Stripe (Madam Matisse) (1905).