PV 21st October
Curated by Jack Fisher
The myth of the romanticised idea of painting against the online competitive nature for visibility of content online. Artists make content to be viewed, critiqued and discussed, by uploading and constantly updating; that artist is seen to be producer of articulated ideas realised as either a personal proof of practice or exchanged against the value of; the individual or collectives authenticity. The connected artist can not escape the notion of the branded self. How a group of images, ideas or people might create a fiction, an action or a new idea by coming together.., What is the role of the art image, and what's the point in keeping it safe? Please leave your suggestions in the box provided. The painter vs. The painting vs. The memory of the paintings vs. The audience vs. The does this even matter? What is the importance of why we create, why the romantic notion of paintings lineage has remained the representation of art making and for paints sake; the reason we frame stuff. I'm not sure, is this a show for the painters, or the artists or people who want and have time to watch paintings dry or maybe just those who want to own paintings…or both or something. If the painting is more important than the artist, does the action of -being even matter and why do we care/judge the contextual background of the artist? Is the action of becoming one collective more powerful than the individual and how does US becoming Smarter really work, if we are to work cooperatively by default? This is a show for everyone who ever said they’d never talk about painting again. If the artist was anonymous in a forest, would it make a noise? The image is to be seen as a whole, the paintings become a network of ideas through discourse and understood as parts of a whole, continually evolving and adapting to their environment. If they solve no purpose other than financial exchange of wealth, do they solve no purpose at all? How do you read cultural shifts over time; through images if only those that remain archived are accessible? If a droplet falls into the ocean, no matter how deep it goes, there always remains the potential for it to resurface and become apart of the breaking wave on the shore. Where has the painting gone? Is the act of destruction through self-promotion an action of creation and how does commodifying this validate it? This is an action performed by painters who have navigated the globe to bring you images you will find interesting. Did you come here to find answers or questions? The fact is, it's not about the work of the artist or the painter in fact. Just #neverforget At Least it was the act of a human. I apologise if you thought otherwise. And Please, mind the saliva. I'm not sure what we’re trying to achieve here. Does it matter that you don't know? Or more that you know you don't know? At Least you're aware. That thing you were talking about never really got me thinking much but I know why you mean like, ‘’If a painter paints a painting outta paint; what's the painter performing perhaps people wanna paint’’ - Anonymous (2016) Each artist is in control of their own destiny. ‘Coz (painterslivesmatter) 2. If the last person on earth produced a painting, Would it even matter? This is Painting, Fo Sho! This is a fragment of work from individual makers, brought together to highlight the importance of collecting, displaying, enjoying and refreshing content on a regular basis. Each artist has been making work regularly for a combined total of 325 years. Can the painter be present without the painting if they never even existed? What happens when the artist can teach their clone to paint?
The expressions on their faces told the story.
The paintings hung, drawn and quartered. A tired painter lay there waiting, tar’d and feathered. There was nothing left but a small reassembled pile of dust, or something to that description. They had been hung out to dry only; they never returned. They h’D been worrying for days and yet no one decided they wanted to eat anymore. They’d eaten to their hearts content the night before, the paintings went flying. Tempers were high! No one knew what was going on at times. The Dead Professional Artist was NOWhere to be seen. Although they all knew in their eyes exactly what was going on, no one made their engagement public. They’d all got just a little bit fed of of being interested in the whole thing and realised they probably didn't wanna be ‘ere anyway. A figure enters the room and exclaims ‘You bastard! What have you done?’
This way! lets walk.
(Oil on Board, 2016)
(Oil on Oak, 2016)
(15cm x 10cm, oil on panel, 2016)
(oil, gloss and spray paint on paper, 2016)