CANVASSING is a proposition of my own which in its development was contrived as a makeshift gesture to my conviction of the conventional canvas surface. My awareness of the conventional canvas surface drove me to making my own and I believe this awareness to have been dredged from my interest in fashion. This new proposition is very unconventional as it intrigues, however does not confuse the painter because it expresses this linchpin that is contrived by this awareness of the nature of the material.
This proposition was driven by my painterly experience therefore these frames are to elaborate further on my painterly experience, my convictions thereof which stretch with the progress of my growth within the discipline of painting.
This conviction of the painterly language is further enunciated by the research and the pursuit of institutional critique. This is intended to frame conventions as the painterly language is visual, therefore speaking to a broad range of sites and one’s attitude toward them which is driven by the linchpin of the respective disciplines that determine the respective constituents of the specific progress.
These frames are therefore the predicate to my performance as I progress with life – as they are illustrative of the framework of the institutions that govern the respective conventions that hold the progress of visual language (as these were intended to be painted on). This opens me up to the inevitability of life in its very pompous range.
This proposition is intended to speak for culture, progress culture in this age that is still confounded by the effects of colonialism and oppression, and to also initiate growth. This linchpin is intended to inspire growth within our confounded cultures so as to enunciate the degrees to which the respective growth has been inhibited hitherto and by also enunciating the imposition which is cultural as well in the cross.
– “CANVASSING” (PENTIPTYCH), string, pine, oil, 2023.
– “PROCESS”, 2023, acrylic on canvas.
– “UNIT”, 2023, acrylic on canvas.
This is an octiptych that is made up of four diptychs. The style of painting is an original developed in my childhood. This mark or progress of a line is one that is consistent and joins to form a displacement of the first point and when form is contrived with the progress of the line, moments are enunciated. This form that is contrived by my transcendence as I progress the line is made against the elliptical nature of the progress of the line. This is a lenticular proposition that is meant to strike one’s repository for visual life.
– acrylic on canvas and board, 2023.
“A Black Cover” (DIPTYCH)
“A Brown Cover” (DIPTYCH)
“A Green Cover” (DIPTYCH)
“A Blue Cover” (DIPTYCH)
– “These Vessels Will Soon Sought A Murmur”. (TRIPTYCH), terra cotta clay, 2023.
– “PRECEDENCE”, oil on canvas, 2023.
– “HIRTHE”, oil on canvas, 2023.
– “Shock Absorber”, steel, string, sponge and perspex, 2023.
This is the ontological figure consolidated in post-enlightenment European thought, whose presupposed capacity for self-determination and self development is both indistinguishable from the expropriative displacement of ecological entanglement that animates (bio)history, and, further, tantamount to the capacity for aesthetic experience and judgement.”– Rizvana Bradley & Denise Ferreira da Silva
“The aesthetically governed articulation of those distinct spheres through which the modern subject moves distinguishes the unfree subject of heteronomy from the self-determining subject of autonomy and the latter from the racialized anthropological object of an undifferentiated culture.”– DAVID LLOYD