porous suburb statement
The voluminous, ubiquitous but ephemeral imagery generated to promote the Sydney obsession with real estate clogs our letter boxes, newspapers and litters our streets. These siren voices call us to endless inspection opportunities. The glossy promotional material allows us to see through closed doors, lurk in backyards and peer over balconies. Private residences peeled back, the eye and imagination travelling through ruptured facades. This property transfer industry has created an intense image making machine with its own codified, visual and verbal systems, turning bricks and mortar into inadequacy and desire. The result is that a young, vibrant, creative population, essential in their presence are largely disassociated from ownership of the unattainable dream homes. Disrupted representation of dwellings offered for sale, their layers torn, hints at all not being well as the utopian visions are subjected to entropic forces. I represent these ideas in a series multilayered paintings of actual real estate offerings called "The Porous Suburb".Each work is composed from three to four painted scenes on paper. These scenes are ripped and reassembled into a view of all three layers at once. . After laminating the background layer onto canvas, the second layer is torn to reveal some of the one underneath, and then third layer to reveal some of the second and some of the first. This allows the viewer’s eye to travel through the dwellings while also instantly gaining a snapshot view of the whole property at a glance, a new angle on the Cubist concern to capture four dimensions upon a two dimension surface. With a concern for over consumptive practices in daily lives, I aim to use reclaimed materials; canvases, paper and framing materials.
I have been working with ‘the street’ since the early 1980’s when I was an art student. This interest has manifested in many forms over the intervening years. Previous work has been created from large, thick slabs of posters taken down off hoardings and walls around my local environment. Lost message were uncovered and revoiced when I cut, tore and excavated new imagery onto the surface exposing previous layers in that process. The voluminous, ubiquitous but ephemeral imagery generated to promote the Sydney obsession with real estate clogs our letter boxes, newspapers and litters our streets. These siren call us to endless inspection opportunities. The glossy promotional material allows us to see through closed doors, lurk in backyards and peer over balconies. Private residences peeled back, the eye and imagination travelling through ruptured facades. This property transfer industry has created an intense image making machine with its own codified, visual and verbal systems, turning bricks and mortar into inadequacy and desire. The result is that a young, vibrant, creative population, essential in their presence are largely disassociated from ownership of the unattainable dream homes. Disrupted representation of dwellings offered for sale, their layers torn, hints at all not being well as the utopian visions are subjected to entropic forces. I represent these ideas in a series multilayered paintings of actual real estate offerings called "The Porous Suburb".Each work is composed from three to four painted scenes on paper. These scenes are ripped and reassembled into a view of all three layers at once. . After laminating the background layer onto canvas, the second layer is torn to reveal some of the one underneath, and then third layer to reveal some of the second and some of the first. This allows the viewer’s eye to travel through the dwellings while also instantly gaining a snapshot view of the whole property at a glance, a new angle on the Cubist concern to capture four dimensions upon a two dimension surface. With a concern for over consumptive practices in daily lives, I aim to use reclaimed materials; canvases, paper and framing materials.
I have been working with ‘the street’ since the early 1980’s when I was an art student. This interest has manifested in many forms over the intervening years. Previous work has been created from large, thick slabs of posters taken down off hoardings and walls around my local environment. Lost message were uncovered and revoiced when I cut, tore and excavated new imagery onto the surface exposing previous layers in that process.
n the series “Porous Suburb”, my abiding interest in the landscape of local streets takes form inspired by the surfeit of real estate imagery that unavoidably assails the Sydneysider. The voluminous, ubiquitous but ephemeral imagery generated to promote the Sydney obsession with real estate clogs our letter boxes, newspapers and litters our streets. Endless real estate brochures invite us to an inspection opportunity. The glossy promotional material allows us to see through closed doors, lurk in backyards and peer over balconies. Private residences peeled back, the eye and imagination travelling through ruptured facades. This property transfer industry has created an intense image making machine with its own codified, visual and verbal systems, turning bricks and mortar into inadequacy and desire. The result is that a young, vibrant, creative population, essential in their presence, are largely disassociated from ownership of the unattainable dream homes. The exploding package of dreams is created from three to four meticulously painted scenes taken from real estate promotions. These scenes are ripped and reassembled to indicate a view of all three layers at once, allowing allow the viewer’s eye to travel through the dwellings, as internal and external layers are simultaneously exposed at a glance, new angle on the Cubist concern to capture four dimensions upon a two dimension surface. The property is now doubly unattainable. Disrupted representation of dwellings, no longer ‘perfect’, offered for sale, their layers torn, hints at all not being well as the utopian visions are subjected to entropic In the
I have been working with ‘the street’ since the early 1980’s when I was an art student. This interest has manifested in many forms over the intervening years. Previous work has been created from large, thick slabs of posters taken down off hoardings and walls around my local environment. Lost message were uncovered and revoiced when I cut, tore and excavated new imagery onto the surface exposing previous layers in that process. The voluminous, ubiquitous but ephemeral imagery generated to promote the Sydney obsession with real estate clogs our letter boxes, newspapers and litters our streets. These siren call us to endless inspection opportunities. The glossy promotional material allows us to see through closed doors, lurk in backyards and peer over balconies. Private residences peeled back, the eye and imagination travelling through ruptured facades. This property transfer industry has created an intense image making machine with its own codified, visual and verbal systems, turning bricks and mortar into inadequacy and desire. The result is that a young, vibrant, creative population, essential in their presence are largely disassociated from ownership of the unattainable dream homes. Disrupted representation of dwellings offered for sale, their layers torn, hints at all not being well as the utopian visions are subjected to entropic forces. I represent these ideas in a series multilayered paintings of actual real estate offerings called "The Porous Suburb".Each work is composed from three to four painted scenes on paper. These scenes are ripped and reassembled into a view of all three layers at once. . After laminating the background layer onto canvas, the second layer is torn to reveal some of the one underneath, and then third layer to reveal some of the second and some of the first. This allows the viewer’s eye to travel through the dwellings while also instantly gaining a snapshot view of the whole property at a glance, a new angle on the Cubist concern to capture four dimensions upon a two dimension surface. With a concern for over consumptive practices in daily lives, I aim to use reclaimed materials; canvases, paper and framing materials.
I have been working with ‘the street’ since the early 1980’s when I was an art student. This interest has manifested in many forms over the intervening years. Previous work has been created from large, thick slabs of posters taken down off hoardings and walls around my local environment. Lost message were uncovered and revoiced when I cut, tore and excavated new imagery onto the surface exposing previous layers in that process.
n the series “Porous Suburb”, my abiding interest in the landscape of local streets takes form inspired by the surfeit of real estate imagery that unavoidably assails the Sydneysider. The voluminous, ubiquitous but ephemeral imagery generated to promote the Sydney obsession with real estate clogs our letter boxes, newspapers and litters our streets. Endless real estate brochures invite us to an inspection opportunity. The glossy promotional material allows us to see through closed doors, lurk in backyards and peer over balconies. Private residences peeled back, the eye and imagination travelling through ruptured facades. This property transfer industry has created an intense image making machine with its own codified, visual and verbal systems, turning bricks and mortar into inadequacy and desire. The result is that a young, vibrant, creative population, essential in their presence, are largely disassociated from ownership of the unattainable dream homes. The exploding package of dreams is created from three to four meticulously painted scenes taken from real estate promotions. These scenes are ripped and reassembled to indicate a view of all three layers at once, allowing allow the viewer’s eye to travel through the dwellings, as internal and external layers are simultaneously exposed at a glance, new angle on the Cubist concern to capture four dimensions upon a two dimension surface. The property is now doubly unattainable. Disrupted representation of dwellings, no longer ‘perfect’, offered for sale, their layers torn, hints at all not being well as the utopian visions are subjected to entropic In the
