Acrylic, emulsion and spray paint on canvas with fabricated anti climb frame. 78 x 64 cm.
Acrylic, emulsion and spray paint on canvas with fabricated anti climb frame. 78 x 64 cm.
Acrylic, emulsion and spray paint on canvas with fabricated anti climb frame. 78 x 64 cm.
The work of Brassaï, a Hungarian / French photographer, has impacted me quite a bit lately. His keen eye captured the essence of twentieth-century urbanization in Paris, particularly in the 1920s, where he documented the emergence of graffiti. Brassaï favoured naive, carved markings over the painted ones he came across, indexing thousands of scrawls. This resonates with the essence of my own work, as it seeks to pay homage to the spontaneous expressions left behind by the inhabitants of a city.
Acrylic, emulsion and spray paint on canvas with fabricated anti climb frame. 78 x 64 cm.
Acrylic, emulsion and spray paint on canvas with fabricated anti climb frame. 78 x 64 cm.
This series explores the various sorts of artistic expression that exist and engage with our public spaces. In this case authorised vs non-authorised mark making.
For example, adolescents etching their signatures and various other carvings onto walls. This represents a desire to be seen, and it allows them to assert their individuality within the larger societal context. Historically, these markings serve an interesting purpose too, they can be a tangible record of the thoughts, emotions and aspirations of those who left a mark.
The authorised marks, in this case hi-vis utility spray marks, are typically made by construction teams or council workers to denote an area that will soon be worked on. While these markings serve a more practical purpose and typically have a premeditated design, they often have a visual appeal with striking patterns and bold colours which have an artistic sensibility.
Acrylic, emulsion and spray paint on canvas with fabricated anti climb frame. 78 x 64 cm.