Compilation One

130 x 110cm

The three elements that make up this work were painted as separate pictures before being combined as shown here. I wanted to collage image to produce new meaning and shape as is popular in abstract work. None of the works had particular strong meaning in themselves so I saw no issue in seeing what nonsense I could invent.

The largest element depicts the lounge of a victorian house with the interior views of each wall projected isometrically on its outside, assuming it is viewed as a flattened 3D object 'box'. Related to Inside Itself in terms of its reference to Rachel Whiteread's house casts. I was thinking about different projections knowing that there is no true one (see Layers of Depth essay). It's flat formulaic look broken by the presence of an open fire, painted with some realism. The arrow shape, cut out of a painting that went through it's own series of alterations, never to settle down, was about getting on a train to get the fuck out of London. The 'warning' sign indicating 20% was related to the quantity of cocaine in any given gram bought in this country. 

I started to wonder wether the actual subject matter of a painting is that important when, at least as of late, my reasons to construct a piece are missed by the viewer. So, with this in mind I decided to play with meaning (as the works are very figurative) by deliberately juxtaposing previously unrelated images.

 

So, what does it mean to me now?

I'm not telling you.