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Formation forces #7
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Formation forces #7

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  • Regular price $880.00

    Synthetic polymer paint on mesonite board

    Framed, 635 x 435 mm

     

    About the artwork

    In Formation Forces, I have been focusing on the aftermath of fugitive emissions, oil spills and other excesses resulting from the flaws in production processes in different parts of the world. Understanding these sites as distinctive nature-culture interactions, I explore the aesthetic implications of the politics of contamination and contemporary economic and geo-political imperatives as reflected in physical environments of the explored sites. There are no references to any particular location or time, yet the paintings are layered with “clues”. The works are not meant to provide an impression of the world but a reflection upon it. The subject matter has been anthropocene and Postnatural landscapes and the formation forces behind them –corporate, political and religious. The landscapes may not have a direct reference to a human figure yet the human impact is apparent. If a human-like figure is introduced, it is never fully formed; it is in the stage of formation.

     

    The works combine the language and materials of landscape painting, while disrupting traditional readings of this genre. The paintings are hybrid versions of landscape and abstraction. Using many references and combining multiple painting styles the works create an effect of the landscapes being done in digital plein air, as a result of information partially digested through online searchers.

     

    Disruption of paint medium and washing off effects are used in direct reference to this partial understanding/ confusion. The highly saturated background achieved through multiple layering of thin paint disorientates and destructs the viewer from immediate interpretations. Monochrome airbrushed elements integrated in the landscapes function as a documentation reference, a photograph, yet upon closer examination one cannot place where and when these are meant to depict.

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