two years at soca

TWO YEARS AT SOCA

Collages showing outcomes exhibited, at South Oxford Community Association, for Oxfordshire Artweeks.

  • 2016
  • CONSEQUENCES
  • acrylic and paint marker on four panels, each 50 cm x 60 cm sans frame
ARTWEEKS 2016 SOCA © REVAD David Riley
ARTWEEKS 2016 SOCA © REVAD David Riley
  • 2017
  • PRIMARY SECONDARY NOISE
  • BINARY NOISE
  • SURFACE NOISE (WITH SIGNAL)
  • LOVE THE NOISE OF LIFE
  • acrylic on panel, various sizes
ARTWEEKS 2017 SOCA © REVAD David Riley
ARTWEEKS 2017 SOCA © REVAD David Riley

modernist coin wash

MODERNIST COIN WASH

Three photo collages, recording outcomes from three Modernist Coin Wash events. Each coin wash was organised and run by the artists Lindall Pearce and Marion Piper at Angelika Studios (now Work Hall). They were very enjoyable creative experiences.


CITRUS PAIR

  • 2013
  • re-mountable wall installation
  • printed office paper, coloured tracing paper, OHP film, office binding combs, rebar and steel eyelets
WORD MODERNIST COIN WASH © REVAD David Riley
WORD MODERNIST COIN WASH © REVAD David Riley

TEN WORDS FROM PINA

  • 2013
  • overlaid drawing on photograph
  • acrylic and paint marker on panel
  • overprinted screen grab
  • collage prints
PINA MODERNIST COIN WASH © REVAD David Riley
PINA MODERNIST COIN WASH © REVAD David Riley

5 DAYS

  • 2014
  • five collages made from over drawn object scans
  • five days of shredded spam post plus coin wash mail
  • fimm daga, acrylic and paint marker on reclaimed frame and panel
  • a related journal entry photograph

 

FIVE DAYS MODERNIST COIN WASH © REVAD David Riley
FIVE DAYS MODERNIST COIN WASH © REVAD David Riley

 

 

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