Key Moments – Context and Documentation

Key Moment #1 – Documentation: Objectives of Autobiographical Art.

Key Moment #2 – Documentation: Non-Objective Animation. Final Film.

Key Moment #3 – Documentation: Final Painting Project.

Key Moment #4 – Context: Mondrian Broadway Boogie-Woogie. Final Film.

Key Moment #5 – Documentation: Progression of an Eye. Studio Flow.

Key Moment #6 – Context: Oscar Fischinger.

Key Moment #7 – Context: W. Kandinsky.

Key Moment #8 – Context: Contemporary Painting. My line of work.

Key Moment #9 – Context: Spalding Gary. Excursions in Film.

Key Moment #10 – Documentation: January 2016. A New Project. Summing up yr 1&2.

Other relevant posts.

Key Moment #11 – Final Degree Show Exhibition Proposal

Key Moment #12 – Context: Conrad Shawcross. Science and art.

Key Moment #13 – Context: Eduardo Chillida. Other approaches.

Key Moment #14 – Context: JM Basquiat. Fine Art Painting. Neo Expressionist.

Key Moment #15 – Context: Graffuturism, Contemporary Graffiti Movements

Key Moment #16 – Documentation: Key moments..Studio practise

Key Moment #17 – Documentation: Light Art

Key Moment #18 – Documentation: Studio Study

Key Moment #19 – Documentation:Taoism and the Tao of Art. Philosophical Leanings.

Key Moment #20 – Documentation: Layering drawing, continued ideas.

Key Moment #21 – Documentation: Light Rooms, Light art.

For more posts please scroll through the blog.


Documentation: Painting

One of my objectives for this last period of time in the studio has been to make a return to painting. There are certain developments ive made in theoretical and historical practise that have allowed a transition back to apply paint and concentrate my efforts, with more awareness and a continuous flow. My new work is an exploration of the abstract and the autobioraphical, which i worked with in my film piece for the final show. As well as working towards my degree show im creating a series of works for a solo exhibition in Geneva late this summer. I intend to improve proffessional aspects of my practise with this opertunity, in line with plans to continue onto the Masters of Fine Arts course in September.

Ive taken to my space in the studio, and used tutorials to improve my contextualisation and proffessional understanding, with pier criticism being central to  this period. As usual ive photo documented my process, and had contact with the woodwork shop to create the sixteen canvases i need for the project.

Key Moments: On joining the course three years ago, i decided i wanted to make a departure from graffiti and initiate an adventure in fine art painting. To be returning to painting now  and to create a final statement in paint is a final objective and is also bridge into my MFA, via self directed study over the summer.

Documentation: changing formats

imageAs the times change, the format changes. This means my ideas have to be updated, this includes my contextualisation. To move from 2d to 3d to light instillation and further to film and music means experimentation and evaluation. The flow of ideas needs to be summarised as there is limited time and space this close to my final piece.

In this term i have made a light instillation. Immediately following that i began to experiment with the source of light for my piece, a projected film. Unfortunately the projected image didnt stand up in the light of the conditions that made the origional sucessful.

Key Moments: The work based around my light instillation stands in relation to my current work, a projected film. I simly removed the part of the piece that overcomplicated things. The outcome of this period depends on the contextualisation of the work, comparing the qualities of light and projection, and the content based on the development of circular ideas.


Context: Spalding Gray

i was surprised to watch a short cut from the film ‘Drunks’ featuring Spalding Grey acting. It made perfect sense that the clip featured a monlogue delivered in character,  a perfectly flawed alcoholic at an AA meeting. Its interesting that Gray is in acting, it makes sense. Some people cross over boundaries in the arts. I think his role is expressed in part as an autobiography, true to life in action. His father was an alcoholic and his mother suffered from severe depression.  He is only afterall acting and to be a good actor must require preperation and purpose, also sensitivity and understanding.

This relationship between acting and making art films is an interesting parralel. It makes me think of the artist and his subject, his field and his intention. In my work ive reintroduced work of mine from sixteen years ago. Looking at my final piece, with the Autobiographical content makes me think of the shaman story teller that resonates the difference between seeing and believing. The art of healing crosses boundaries in reality and synthesized reality. To find a sence of balance in my historic autobiographic ive tried to work with sensitive nature and the real aspects of looking at film.

key moments: Finding footage of an actor/ film maker acting really set me thinkin about sensitivity to subject matter and my role as editor of autobiography. Im contemplating relationships between objectives and consciousness, the nature of progression and the momentary grasp we have on what is real to us.

Context: W. Kandinsky



‘The more abstract is form, the more clear and direct its appeal.’ W. Kandinsky

Kandinskys’ painting was one of the first abstract works that id ever seen. Appropriately Kandinsky is reputedly the first artist to experiment with abstract paintings, which were a response to an unusual Sensorial ability and appreciation of music.

When i realised Kandinsky was creating whole pieces of music based work, i tried to do so myself. I looked at the numeric structure of music, time signatures and rythmic notation. This was twenty one years ago, roughly half of my life. Again i picked up representation of music in my art some five years later. I moved from listening to music in cars to Djing and buying music on vinyl. I bought a drum machine, upgraded my turntables and studied music and art.

This period of time on fine art at Csad ive taken every opertunity to follow up on music and art. Like Kandinsky an appreciation caused me to interchange elements of audio and visual stimulation. My final piece includes a sample of a Proust poem spoken by myself, which ive consciously changed to sound alien or foreign. This piece which contains my own music is set to run at the same time as my film, as a reflection on audio reality. The message is that you dont have understand something for it to be beautiful.

Key Moments: Kandinskys representation of music in his painting helped me understand the different ways perception forms the beginning of an artists process. It stays a part of the consciousness of the artist while they explore and develope, individualy or as part of a movement with shared ideas. To take into consideration the appropriate connection an artist has with forms of notation, abstract and in my case a central part in film, is central to understanding my work.




Context: Oscar Fischinger



In the late summer of 2015 i went to Berlin by myself for eight days. ive been interested in German artists after visiting the Bauhaus and the art/design/architectrure crossover.

My focus has moved from from an environmental study back into abstraction and aesthetics and intention. Fischinger said

Everything in the world has a spirit which is released by its sound.

A piece with movement and a time base shares rules and conventions with sound. In recording, in playback these conventions are there to be descoverd and worked on – the rhythms that began to make music tie in with Fischengers animated shapes. The release in the yet un named piece im making is also in space and sensation. Fischinger uses space in his animation and his visual coordination of individual parts with music is the centre of something beautiful and experimental, as he was part of an experimental force in animated film.

“The real artist should not care if he is understood, or misunderstood by the masses. He should listen only to his Creative Spirit and satisfy his highest ideals, and trust that this will be the best service that he can render humanity.”

Fischinger, quote.

He was making films in America after fleeing Nazi Germany, and believed experimental film and animation were vitally important areas of film, and personal freedom in persuing his artistic aspiration.

Key Moments: As an art student to be in this area of art is exciting. I feel that im on the verge of something worthwhile; working with film. The process ive been through has brought me round to painting.

With the film almost ready for show, ive started a series of paintings to accompany my screen projection. The experience of making a film over many months has given me new insight into expression, and in painting coordination and timing. I learnt the significance of timing and simplicity, complementary elements and relevance of a current message. Id like to continue with ideas of art being theraputic, and afferm the importance of communication.






Final Degree Show Exhibition – Proposal

As a practicing graffiti artist I have undertaken the task of integrating a set of symbols, the alphabet, into creative visual form. I’m interested in the accessibility or inaccessibility of the written word, in everyday life.

The origins of my work go back twenty years, where I could be found drawing in books in the 27beats household. I consider early characteristics developed then to be relevant today- lots of written on visual material, sketched out beginnings of graffiti, some kind of hip hop soul meditation. Graffiti requires the artist to have a name to write, and the name is often an amalgam of both letters and numerics. Thus I began to experiment with words.

Through the process, abstraction and creation of works, the literal meaning and reason becomes ephemeral, only for intuition and interpretation to claim my pieces. The recording of experience becomes connected to the experience of the viewer. Across the body of work that I have produced during the course, narratives that are infused within the pieces have changed, and the forms I have worked with change: this is a reflection of a stream of ideas that have been generated. Therefore, in the work I am producing for the exhibition I want to combine ‘historical’ works and  ‘objective and non objective abstract’ through a single multi-media piece using a current aesthetic for the viewer, stressing the values of communication.

My paintings are a form of meditation on life, which have aesthetic values parallel to film piece. Both are recordings or representations of reality, which are autobioraphical and abstract. The body of work articulates an exploration of personal development, through art and the period of time that it took to reach these conclusions through which ive managed to reshape meanings in life.



I propose to make and install a light piece in the Final Show. In developing 2d into 3d I have put two previous light instillations together. ‘Synaptic Space’ was shown at the Abacus in the December show ‘Exposure’, and ‘Imaginary Giants and other friends’ was part of my assessment work also in December.

Whilst still being involved in exploration and discovery I’ve decided, through test pieces that my piece will work technically, and to commit to making visual material for the instillation.

The cost of the instillation should be £30-£60. Relatively cheap as I intend to make use of University facilities and materials. Happily today I was given some materials for free by a technician, and it’s possible I may be able to put on a show for absolutely nothing.

I’ll be arranging two video projectors, two DVD players, an amplifier and speakers borrowed for the piece in a dark, square room 12 x 12ft. The instillation will sit on a stage/ plinth approx. 12 x 6 ft. (half the space). The stage I’m proposing to make with a friend who does carpentry. I will design the build with him as efficiently as possible with time to put it together in the space.

My work considers conditions of urban environment and diffusion of living with music, art and philosophy. I intend to create patterns and rhythms with projected animation and sound.

I can provide drawings of the setup of the dark space if required.