THE INTERTWINING (1 & 2)
Enquiring into the idea of combining the material and immaterial in painting, I explored the use of a transparent support. Introducing the paintings to a simple mapping algorithm enabled the generating of a video. The final work was then shown as an installation in which the generative video and the painting were presented simultaneously. As the original paintings are on a transparent substrate a visual intertwining occurred.
This series is the result of a philosophical investigation in which I explored the idea that one can go around to the other side of the work and see it as though in a mirror when painting on transparent substrate. This gave me an understanding of the idea of the dialectical consciousness and consequently an interest in the philosophy of becoming. see a video here: https://myvanwygibson.com/whoistheartist
The surfaces allow the artist to take full advantage of the light and to play with the observation point of the spectator. What the viewer sees is never the actual place where the hand of the painter was - it could be that it is on the reverse or on a projection of that reverse. Through paintings, installations and exploiting the possibilities of the digital, the artist reflects on the relationship between technology and painting, the virtual and real, and between the natural and the artificial.' Text: Chiara Bernadini
The virtual is thought of as things we cannot physically alter or experience without electronic mediation. I like to think of myself as working in both these existences, trying to intertwine the immaterial with the material. Maybe what we think is real is actually artificial. Maybe there is no reality without virtuality and visa versa.
THE INTERTWINING 1 (above & right) pigments, thermoplastic polymers, acrylic glass, projector, looped generative video. 500mm x1000mm
THE INTERTWINING 2 (left) pigments, polymers, enamel, acrylic glass (3 panels), wood, acrylic box, projector, generative video. Dimensions Variable
