Master of surface complexity

Artists who layer materials to create intricate surfaces that read like poems are at the top of my what's hot in art list. No one does this better than Will Gill. The highlight of my day yesterday was seeing his new work at Christina Parker Gallery. I've provided a link under websites for those who want to check out his work.

Will is a sculptor who also creates wall works, which I think of a 2D sculptures. His use of plywood as a support allows him to use tools (e.g., router) to create relief spaces and fill them with new materials, creating a strongly patterned graphic quality. Duality is evident in his work in both his process and content. His use of mechanical interventions with a pastel colour palette and collaged papers is a constant; he explores themes of beauty and destruction, pits industrial against organic and at times can be downright whimsical. There is both order and chaos. No matter what the content, you will always want to revisit and perhaps cop a quick touch when no one is looking.

Surface complexity

I love surface complexity. One of the ways I can accomplish this is to develop layers with different degrees of visibility created by overlapping and the use of transparent and opaque paint. My work is intimate in scale and process. I think smaller works encourage the viewer to move closer and take a good look. If there appears to be more than one level of information, it draws the viewer in.

In the past four years I am painting less with a brush and using other materials and my hands to create compositions. The more I can touch the work and the materials, the more satisfaction I gain from the engagement. Straight painting has lost its appeal. I need the feedback from my fingertips. I am attracted to sensuous materials- I was called a hedonist by a friend! I am most comfortable when I can hold a canvas or board in my hand and work on it. I do have an easel, but it is difficult to apply papers, photo transfers and other ephemera on a vertical surface attached to something with wobbly legs!

In my last body of work -Remnants- photo transfers were used to create the complexity of layers of wallpaper that I was attracted to when friends began to remodel old homes. Some painting was included to draw the compositions together.

My new work begins with photo transfers that are eventually obliterated with new information added by painting and collaging. In my next post I will examine why I am working in this way.