16 April to 11 May 2016, Robin Gibson Gallery
On a recent trip to Paris I was searching for the place where Kandinsky lived; nearby I found a banner of coloured triangles, blowing in the breeze. Kandinsky was a synaesthete, that is when he heard a sound he also experienced a colour, something that has always fascinated me when I look at his paintings.
I choose to work with colours instead of sounds, but the work is just as much about music, its forms, themes and variations, transpositions, rhythms and repetitions.
Inspired by both the history of abstraction in painting and compositional elements in music, my process uses strategies that address an informal set of rules such as are found in games, the movements of the pieces in chess, and in the infinite mathematical possibilites of the grid.
I have always liked making large stand alone paintings in which the frame of the work defines a boundary. More recently I have used a multi-panelled format; here the wall becomes the ground of the canvas and allows patterns to grow both horizontally and vertically. These can also be more easily transported.
The exhibition was at Factory 49 from 20 March – 29 March
Here are some installation shots
You ask why I paint abstract pictures, what are they about?
I answer by saying it is like you are listening to a piece of music, for example by Bach, there is structure that comes from maths, patterns which recur, are repeated with variations; you take away a feeling of calm;
Horizontal and vertical shapes filled with intense reds and yellows… Continue reading
In Peter De Lorenzo’s paintings the inflexible logic of the grid is subverted through borders that are less than perfect, whose edges nudge one another through erasures or changes. Continue reading