Atomic face (2016) Peinture par Malcolm Koch

Vendu par Malcolm Koch

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32,44 $US

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268,76 $US

Résolution maximale: 3114 x 2319 px

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Vendu par Malcolm Koch

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Œuvre d'art originale Peinture, Acrylique

Classification des oeuvres

Œuvre d'art originale

Les œuvres d'art originales désignent toute œuvre considérée comme authentique et non une copie ou une imitation des œuvres originales d'un artiste. Les œuvres d'art originales peuvent être n'importe quel type de peinture, de sculpture, de performance ou d'autres médias. Il existe de nombreux types de supports originaux. Les techniques mixtes comprennent les peintures à l'huile, acryliques et aquarelles. Pour les peintures d'atelier qui témoignent d'un savoir-faire artisanal, cette attribution doit être davantage nuancée. Bien qu'elles puissent être moins précieuses pour différentes raisons, les reproductions et les copies ont eu un impact considérable sur notre expérience. Ils atteignent un public plus large que les originaux et agissent comme un tonique contre la marchandisation. L'œuvre originale pourrait également faire référence à la première œuvre, qui précède toujours toutes les autres. Il peut également faire référence à un prototype ou à un modèle à partir duquel d'autres œuvres peuvent être réalisées. Chaque œuvre présente de grandes similitudes avec l'original.
Dimensions Hauteur 29,9in, Largeur 35,4in
Catégories Abstrait

The face of a hydrogen atom: Quarks & leptons are the building blocks of matter — I've created a series of events, using curls & waves, that interpret a geometric construct of a particle's properties, in this case, hydrogen. The curved structures create a framework that allows for connections and entangled systems to manifest. Finally[...]

Malcolm Koch

Australie

Membrane Art: An evolving expression. In 2004, I had the thought that I could open up surfaces and spaces to far more countless perceptual possibilities by painting on a curve rather than on a flat 2D[...]

Membrane Art: An evolving expression.

In 2004, I had the thought that I could open up surfaces and spaces to far more countless perceptual possibilities by painting on a curve rather than on a flat 2D plane. The events created on the curved surface would re-enact the ‘completeness’ of our natural world (containing multidimensional values) and when the results are unraveled and revealed on the 2D picture plane, the compression of depth would generate the human visual experience, thus being a metaphor for how we observe.

Since the discovery of this aesthetic thought, trying to put it into a working practice has been challenging. I’ve experimented with numerous ways of curving the surfaces that I’m working on. I’ve also realised that besides paint pourings and the effects of gravity, I can apply alternative methods to create events that couldn’t eventuate on a flat 2D plane if one tried. Thereby the actual membrane itself underpins the aesthetics of each piece, and the degree of simplicity or complexity can be regulated and enhanced by it.

Painting this way stems directly from our current understandings of nature and how we (might) observe it, particularly in quantum mechanics — where we are to believe that nature is probabilistic and far more complex and stranger than the Newtonian one we intuitively know. So by liberating the membrane surface it allows me to engage with the ‘completeness’ of space and surface. Even though events created on the surface may be partly, or completely, obscured from view, it conditions me to use gained knowledge and a sense of feel rather than solely relying on my sight — all this develops different thought processes and challenges my assumptions as I embrace the incidents that arise.

The impact of this work from the viewers experience is quite different. They will, like me, observe the results of the work on a 2D picture plane. The aesthetic appreciation comes through the contemplation of each piece and/or through the realisation that it couldn’t have eventuated without some kind of curve involved. Similar to the way that things may appear in nature at the atomic level — we may not fully comprehend the methods and sequences that allow it to be the way it is but it seems to form part of our inherited reality.

As an aesthetic thought, allowing the surface geometry to play a part in the conceptual development of artistic expression, I believe, has been largely overlooked. Particularly when you realise that the spacial transformation of the events onto a 2D picture plane happens directly and without distortions (unlike that from a camera lens) is a fundamental principal of it. Nevertheless, this notion has enabled me to evolve and develop a body of work that I call ‘Membrane Art’. Whatever its ultimate value, it is without doubt the key influence and structural basis of my art practice. Something that I’m continuing to evolve.