this ‘me’ of mine

THIS ‘ME’ OF MINE

This touring exhibition visited four venues in 2013/14. The This ‘Me’ of Mine web gives full details. Three of my outcomes were exhibited. Two in the first three venues and three in the fourth venue.

THIS 'ME' OF MINE © REVAD David Riley
THIS ‘ME’ OF MINE © REVAD David Riley

OUTCOMES

  1. Bar EP Blues (kinetatic); venues 1 to 4; a video presented in a digital photo-frame.
  2. Twitter Usernames Coded and Transcribed; venues 1 to 4; a printed office paper wall installation.
  3. Hello World (sans frame); venue 4; a steel hooks with bungee cord wall installation.

VENUES (all in England)

  1. A.P.T. Gallery, Deptford, London.
  2. Strange Cargo, Georges House Gallery, Folkstone.
  3. Kaleidoscope Gallery, Sevenoaks, Kent.
  4. Art School Gallery, Colchester & Ipswich Museums, Ipswich.

binary noise

BINARY NOISE

  • 2017
  • acrylic on panel
  • 2 of 35cm x 45 cm framed

The idea first came about when, in frustration, I gestured across a panel I was working on and left a finger painted mark behind. Immediately, this felt like a natural way for me to paint, a natural way for me to explore the noise of the material. I wanted to focus on the gestural marks and I chose to limit the colour palette to contrasting orange and blue plus white. Somehow, a limited number of compass drawn black lines found their way into the composition (a side-effect of something else I was working on at the time). I worked two panels side-by-side and the BINARY NOISE diptych was the outcome.

BINARY NOISE © revad David Riley
BINARY NOISE © revad David Riley
POSITIVE (BINARY NOISE) © revad David Riley
POSITIVE (BINARY NOISE) © revad David Riley
NEGATIVE (BINARY NOISE) © revad David Riley
NEGATIVE (BINARY NOISE) © revad David Riley

primary secondary noise

PRIMARY SECONDARY NOISE

  • 2016
  • acrylic on shredded receipts on reclaimed panel and frame
  • 2 of 48 cm x 48 cm

A diptych made using a pair of reclaimed framed panels. I had recently been viewing a favourite painting, Like an Open Book by Howard Hodgkin, at the Ashmolean Museum in Oxford and these framed panels seemed ripe for letting the paint escape the panel to explore the frame. Exploring the primary and secondary colours kept the ‘code’ simple and allowed me to focus on getting the paint to run.

PRIMARY SECONDARY NOISE © revad David Riley
PRIMARY SECONDARY NOISE © revad David Riley
PRIMARY NOISE © revad
PRIMARY NOISE © revad David Riley
SECONDARY NOISE © revad
SECONDARY NOISE © revad David Riley

love the noise of life

LOVE THE NOISE OF LIFE

  • 2017
  • acrylic on shredded receipts on two panels framed as-if one
  • 35 cm x 86 cm framed

Made as an exploration of a noisy surface constructed by gluing shredded receipts to a gessoed panel. The paint was applied to a vertical panel and gravity and the constructed surface defined the noisy outcome. By way of signal the colour strips conform to a tricolour alphabet code. The flow of the paint indicates the flow of the coded words.

LOVE THE NOISE OF LIFE © revad
LOVE THE NOISE OF LIFE © revad David Riley

An alternate presentation.

LOVE LIFE

  • 2017
  • acrylic on two panels
  • 2 x 41 cm x 30 cm unframed
LOVE LIFE © revad
LOVE LIFE © revad David Riley

coding ello

CODING ELLO

  • 2014/15
  • ink on envelopes
  • C6 evelopes

Revisiting CODING ELLO my 2014/15 project to hand code the first 50 followers (of @codedimages) as drawings on envelopes. Here is a 7 x 7 grid of the original envelope drawings, from which the negative large format print versions were derived.

CODING ELLO / GRID © 2014 by revad david riley
CODING ELLO / GRID © 2014 by revad david riley
CODING ELLO / REVAD / 01 © 2014 by revad david riley
CODING ELLO / REVAD / 01 © 2014 by revad david riley
CODING ELLO DRAWINGS © 2014 by revad david riley
CODING ELLO LARGE FORMAT NEGATIVE PRINTS © 2014 by revad david riley