Friday, 22 February 2013

segments of petrifying orbs settle in vibrations

More images available on Ebay interspersed with thoughts.


The structure crumbles under heaving accumulations of movement.  The point where the pressure builds to a point of collapse and foundations turn on their side.  The earth moves from orbit and life becomes a brief freezing cold cataclysm.

Except this doesn't happen.  The tension never ends.  Life stays upright.  Giving the sense that it could collapse if it wasn't for the fact it had been glued together by physics and other real things.  Forever our minds full of illogical needs are swamped by cold certainties.  And world stays together and rigid despite it's  shuddering foundations.

small envelope sized

This next image being the first of a loose trilogy.  A trilogy predictably completed by the two images below.  Trilogy is quite grand sounding - like I really really thought about it and came up with some master plan of connection between the three images.  The connection is rather vague and simple derived from me using the same materials on each image and each image being about the same size.  A connection is here though.

The first image is focused on the sky.  The heavens.  The outside.  The focal point is a large orbular object in the sky which framed by straight structured lines.  The future planned out by movements of stars?  Not a depiction of astrology but the unreachable universe is understood through geometries and measurements - like clockwork - declining and expanding circles.  Boxing astral bodies - fitting masses it into the small boxes and frames.  A picture is confined by it's boundaries.  Defined by it's focus.  Refined through embellishments and details.

small envelope sized

And so the camera pans downwards to life on earth. The title implies a city turning to stone - becoming solid and pointless but still moving and living through it's own decay.  Flickerings of life animate but the sense of a  day to day sameness perpetuates - screeching along with everyday faces and facades of progress and change.  Gritty.

small envelope size

And then underneath all that - despite the measured movements of the many and various stars above and the permanent monotony of the living real life is that tension mentioned earlier.  The tension that pulls at everything.  Accumulating forever and swirling under the surface of all brains/minds/souls the disposition of discontentment.

Full of nothing but a nothing that is some thing = A no thing.  This something could be everything.  So through looking deeply into yourself you can find as much worth as you want.  I'm not being downbeat.  Neither am I being conclusive.  My viewpoint changes all the time.  That's the beauty of multiplicity.

Friday, 15 February 2013

sharp choice blurred movement edges of tangible living fragments

More artwork available on EBay this weekend.

As usual click on the hypertext below each image or on the image itself and you'll be taken to the bidding zone.  


As already explained in this blog my work is often 75 percent reproduction and recombination.  I often mix two or three incomplete images into something else.

The above is a mixture of these and these.  This image is much bolder and cohesive than the what it derives from - both being more organic with a feeling of movement and also having the text operate much better within the artwork itself - looking less diminished and more interlinked with the image.  Making it a new image and a real development and completion of the material used.


The mixture of two or three different types of work - or what I call textures - leads to more complex and interwoven imagery.  And the effects can be very free flowing despite collage being quite a sharp edged medium.

I like the fact that through mixing together all the previous unused material I can create new work.

I have loads of materials to use up - about 6 plastic bags and there are likely loads more on a disorganised shelf somewhere.


This image, in contrast to the above mixtures is an old picture found in a folder that I happen to think was good the first time round.  I didn't cut it up and mix it with anything else. The image itself is almost like an edifice.  Which is perhaps why it's so hard to even try to bother to cut into it.  Like cutting into a statue it just feels like vandalism - like it the image isn't a material but complete.  Completely complete.  These sorts of oddities occur in my artwork every now and again.

small envelope sized

Giving my work titles can help towards giving finality and cohesiveness to an image.  Like how a person's name can intertwine with a concept of who they are.  The image has a good and subdued interplay of colour and monochrome that I should probably utilize more in the future as sometimes I go a bit too far with colour.

When making the above image I was thinking about alien abduction.  Brains sucked out through a hyper technical semi organic straw. 

small envelope sized

A head hollowed out of it's contents and left to wait empty and paralyzed - and then finally all the information is shoved back in again carefully reordered in a disorder.  Awake eyes and brain full of buzzing nothing.  

small envelope sized

And finally the mist sharpens and settles into reams of unorganised organs.  Parts of a bigger construct all drifting in the air wanting to be put together into something better.  Something good.  They are left to drift loose and unclassified and finally they collide together.  Remaining unclassified.

Saturday, 9 February 2013

convergence of dribblings leading nowhere through solid vague partial peaks

More images on EBay for auction.  All various sizes and some non so subtle interlinkations.  

How is size gotten across in this narrow column of blog text?  For instance the image below could be anything from A1 to A5 (or beyond.)  In order to solve this I'm going to write the approximate size of each image in tiny letters (and in brackets) underneath each image.


The above is an image of overlapping and underlapping.  Of two things operating under a tectonic tension.  All the matter is still there but is made chaotic.  Although nothing dissipates it only changes.

Unfortunately it doesn't change enough and too many things remain all too similar.  Tension remains - grinding  hard material to dust.  The dust flies somewhere but due to it not being attached to a larger presence it becomes irrelevant to life.  Independence and freedom?

(210mm by 210mm)

Dust is unknowing (according to all ''evidence'').  Does this make it lucky?

To be separated from the general grind of life and to be thrown away down some metaphysical garbage chute plummeting through the empty space forever and ever but still completely aware of the fact that your falling.  To retain some physical presence that is ridiculed in all it's arrogance by unknowable powers that surround your consciousness.

An easy assumption is that disconnection leads to freedom.  It seems obvious to me that something else surrounds our lives knows everything about me.  And even in disconnection it'll follow me.  Perhaps it's self analysis.

parts 1, 2 and 3
(all three small envelope sized)

If you repeat falling/drifting through tunnels it should eventually strip away all sense of identity or defense.  Everything is taken back to being mute, powerless and pointless.  It becomes like some kind of waking deep sleep.  In this sleep structures and ideas fall through the mist and eventually converge together through no choice of our own.


And so circles and places and squares and other shapes converge and interlock to convey some form of living - some form of movement.  

The self invents places that are reachable and even though these images have little in the way of depicting concrete reality they do live and are freeze frames of somewhere/something else.

Saturday, 2 February 2013

continuing soulless self promotion

The artwork I'm selling on EBay this weekend are just images of work that went unsold last weekend.  Or in the case of exhibit (e) unsold for many weekends in a row.

Click here to bid

Which is an another example what I like best not being the most commercially appealing.

I've posted some other images but they will all be ending next weekend so I'll write about them in more depth next week.

For the sake of laziness I quite like the idea of displaying my work in one jpeg like I have above rather than how in previous posts I put each image separately - complete with a paragraph or two below each one which aims to engage with each image and attempting to linking them all together thematically.  Laziness isn't a good reason to do anything though.  The lazy approach looks like some kind of slick pamphlet rather than any real engagement with the artwork itself so next week I'll continue to write about each image exactly as I have done before.  This weekend is an exception simply due to not auctioning any new images.  All of the above have already had their reaction.

Writing a blog and engaging with an audience over the years has been very rewarding.  I've been keeping this blog for two years now and it's been essential to me developing a voice for my artwork and myself.  Judging by the below statistics more people are starting to read this blog - though a percentage of these views are from Russian robots or people with little interest (sometimes both).

And what better way to finalize one of my most capitalist and corporate blog posts than with a graph which proves to the people that stocks are up for the Garth Simmons' Art Machine?  Invest now now now now.

I can never tell how seriously I actually take myself.