Previously, I painted exterior views of shape shifting
houses. The transformation relates to transitioning desires, which fuel the constant
re-fashioning of individual concept homes. In that fleeting dream house
perspective the conditions of the present are being adjusted in response to the
foreseeable future. In an
introspective progression, I currently work on, as among my starting points, compositions
of interior places inspired by selected character archetypes. The making of
these interiors began by imagining places that would define or carry the
essence of a hero. At this point I see the interior as somewhat relating to
home not as literal house architecture but more of an abode or setting that
facilitate the origin and presence of characters. Having moved to a country of
colder climate, whose society is more acquainted with indoor living, working on
“Home is where it all began” as a subject through the construction of interiors
is a direction that can be seen as culturally innate. In further introspection,
using imagery coming from my past works involves my self- origin into the
picture.
My interest for ambiguous scenes in films is another source
of premise in my works. Such particular parts (in movies) ability to raise
unpredictable trajectory for interpretation and, its capacity to generate
interest over time is stimulating. I am working to relate this ambiguous quality
as a source for abstraction in painting. Depicting interior settings that connotes endlessness and
presenting in them open-ended narratives builds a kind of shapelessness. It is
an alternative to common approaches towards exploring painterliness such as
gestural articulation. My recent strategy presents gestalt that operates on a
depicted real life spatial sensibility without easily escaping the rigid
platform of traditional painting. It
goes in contrast to the path taken by the usual strategies of conceptual
extensions of painting through objects, assemblages or installation.
Working on developments under strict painting dynamics is a
relevant endeavor in this period in Southeast Asia, where painting occupies a
significant position among media. Painting’s ability to assert its
effectiveness as a single medium should go hand in hand with the transformation
of general interpretation. Among them is that the commonly understood abstract
format is representational of past abstract works (including its processes) and,
that representational elements even without being rendered in an outright
flatness can emit abstract qualities.
The Imaging of sound in painting is my most recent endeavor following
my interest in developing sound and participation projects. For now I work on noise
as thought forms through texturing. I involve the feel of acoustic properties
in a space, where the idea of sound includes the conditions for hearing.
Finally, I deal with imaging imaginary notions of sound such as the “the noise
underneath the stairs” and “heavenly sounds” in expression of sound archetypes.
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