ADAM HARRISON
Artist Statement
I certainly do not start these paintings as abstractions. Rather I am determined to record the anatomy of the place the best I possibly can (which, on an average, can take up to 1-2 years). However it is the inconsistencies of each and every day that compels me to take risks and achieve the expression of each chosen worksite.
I first find the accuracy of a place by measuring and re-measuring height, width and space between objects rather then traditional perspective. This helps to construct an image of complex shapes. (“Kerry Gold” best demonstrates this technique in its simplest form). As the process of this “blueprint” evolves I find it necessary to abstract certain areas and externalize my experience of the place.
Sometimes I want to pull objects to the surface or sometimes I want detail next to an abstract form; and sometimes I want to open up a big shape to explore certain areas of that composition. And sometimes I even expand the substrate, enlarging the painting itself.
Then there is moving shapes around, leaving corrections and mistakes, being heavy handed with paint, keeping measuring marks, making values and color pop through contrast. Each choice serves a purpose to keep the eye moving and/or open the composition.
The way I see it, these are abstract paintings found through representational subject matter. Sometimes l paint every windowsill and other times I take a squeegee and pull paint over large areas on the surface. I love accuracy and I love risk and I like to see both of these in my attempt to express “The endless repetition/ Of unrepeatable days.” Quote by poet Boris Pasternak
I first find the accuracy of a place by measuring and re-measuring height, width and space between objects rather then traditional perspective. This helps to construct an image of complex shapes. (“Kerry Gold” best demonstrates this technique in its simplest form). As the process of this “blueprint” evolves I find it necessary to abstract certain areas and externalize my experience of the place.
Sometimes I want to pull objects to the surface or sometimes I want detail next to an abstract form; and sometimes I want to open up a big shape to explore certain areas of that composition. And sometimes I even expand the substrate, enlarging the painting itself.
Then there is moving shapes around, leaving corrections and mistakes, being heavy handed with paint, keeping measuring marks, making values and color pop through contrast. Each choice serves a purpose to keep the eye moving and/or open the composition.
The way I see it, these are abstract paintings found through representational subject matter. Sometimes l paint every windowsill and other times I take a squeegee and pull paint over large areas on the surface. I love accuracy and I love risk and I like to see both of these in my attempt to express “The endless repetition/ Of unrepeatable days.” Quote by poet Boris Pasternak
