Palo Klein Uber London The thesis for this coming years examination will focus on three elements; “ forms of objects, forms surrounding objects and lastly, at what point does a line become a form ?” This years works will again all be based upon the most fundamental execution of layers. The medium for this years works will include paintings on board, three substantial canvases (first canvas executions in nearly eight years), and a small series of metal sculptures which will all be suspended from the ceilings, allowing natural movement from outside elements such as breeze or physical contact. All works regardless of medium will focus solely upon objects of unimportance and/or of mundane/disregarded significance to the viewers interaction with such, ie. A coffee cup, reception chair, jam jar, display window etc. At age 62, I now have clarity of the synthesis of my art which has been the catalyst and directive of my life. The fundamental(s) have not changed during the past some fifty years now, but continually provide the means for highly emotive works with enticing execution and hopefully greater engagement when a viewer observes one of my pieces. To invoke a contemplative examination of daily objects and their form is my final objective, no longer dismissing the most common or mundane object. I have perceived all objects and forms in layers . This has been the primary fundamental for my art for nearly forty years. The execution of the piece begins with the backside of the object as the first layer on the board. This is the reverse procedure of the majority of artists method. For example, the first application to the board would be the back side of her dress, then her body and finally the front side of her dress facing the viewer. The issue of light source is constantly taken into consideration throughout the layering process. This progression of layering is a sequence. This format is used in all objects when executing the objects form. Consideration is ongoing during this process in constructing the” form surrounding the object” with the evolution of the object’s layers. Translucency of the acrylic medium is essential in specific areas which is enhanced with the melted plastic mixed ( simply a carrying agent), with the raw acrylic paint. The melted plastic is a carrying agent and is not an integral component of the work itself, merely a tool. French crayon is deployed throughout the layers addressing my constant question of; at what point does a line become a form? In choosing a subject matter, I always without exception, follow another “absolute” ie., “the more common the object encountered on a daily basis, the more significant and paramount it becomes for execution.” For example, some of my most favourite series deal with; marmalade jar, chair, display window, child’s toy/red wagon, old tractor in field etc. Dismissed and unnoticed object(s) of essentiality within everyday functions demand conscious recognition and visual examination. It is the forgotten or overlooked elements I thrive on, as they provide quality to everyday life, and without them our daily functions and activities would be difficult if not all together impossible. Would you prefer to drink from a glass or your cupped hands? The Object’s Form, is quintessential and again, of incredible consideration. This became significantly apparent from my exposure to Mark Rothko’s works as a teenager. This element of my work has never strayed nor diminished some fifty years latter. The final executed object’s form, as I understand it, actually consists of two distinct elements. “the subject matters form itself, and secondly, the form surrounding the object.” Beginning in 2011 respectively, I realized my obsession with “the edge” was misguided, as what I was actually attempting to consider was the form surrounding the objects form, of which may hold a greater significance than the form of the object itself.” This can be examined in a recent work “English green wall” usa-48x60 which portrays simply that, an English green wall obstructed by a reception chair. This launched the “isolation series” which will continue to examine the forms surrounding objects. Finally, The Question of Line. One of my most identifiable elements to my work, is the “fractured brush strokes” which has been so intensively discussed by collectors and critics. This fracturing has taken me some fifty years to achieve, but is also the fundamental component to my question of line. Let me explain. “ A brush stroke is simply a line with a predetermined width. It can be placed in a variety of angels. But, “at what point does a line become a form in itself”? Thus, by introducing French or Swiss crayon throughout the layers in conjunction with the brushwork, the crayon becomes its own form within the field or edge of the subject matters form. The crayon, which I have not used since the nineteen-sixties, has now re-appeared as a new element and medium to my works which shall continue and provide yet another antithesis from which to explore. As an impressionist, it is my attempt for my viewers to increase their consciousness with regard to the most mundane and simplistic objects they “rely on” within their daily activities. Contemplate your ever evolving marmalade jar, what colour and shape was your coffee cup this morning? These dismissed objects demand contemplation and intense examination. Palo klein uber, London 2012 whiteboxcontempoary palokleinuber youtube/ palo uber art youtube/ mendavog and palo uber art youtube/ palo klein uber art
Posted on: Fri, 20 Sep 2013 20:13:11 +0000
Trending Topics
Recently Viewed Topics
© 2015