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.
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.
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.
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.