LOGIN TO YOUR ACCOUNT

Username
Password
Remember Me
Or use your Academic/Social account:

CREATE AN ACCOUNT

Or use your Academic/Social account:

Congratulations!

You have just completed your registration at OpenAire.

Before you can login to the site, you will need to activate your account. An e-mail will be sent to you with the proper instructions.

Important!

Please note that this site is currently undergoing Beta testing.
Any new content you create is not guaranteed to be present to the final version of the site upon release.

Thank you for your patience,
OpenAire Dev Team.

Close This Message

CREATE AN ACCOUNT

Name:
Username:
Password:
Verify Password:
E-mail:
Verify E-mail:
*All Fields Are Required.
Please Verify You Are Human:
fbtwitterlinkedinvimeoflicker grey 14rssslideshare1
Languages: English
Types: Other
Subjects:
“Painting is at an interesting crossroads in relation to digital culture and the media - I try to reflect this through the painting’s chaotic visual spaces.” (Michael Stubbs).\ud \ud This exhibition contextualises Stubbs’ painting practice alongside his rarely seen paper works. Stubbs translates his multi-layered painting technique into graphically transferred silkscreens, stencilled pencil drawings and collages that mix vibrant inks with bold stick-on graphic signs. Stubbs new paper works combine neon coloured shop window signs with stencilled, graffiti style spray paints that refer to the high street recession and continue his fascination with contemporary painting’s material manipulation of the flattened, immaterial space of digital media.\ud \ud The paintings, which operate at the interface of abstraction and pop, are constructed by combining poured, abstract configurations of transparent varnishes and opaque household paints with ready-made graphic stencils. The repeated pouring, in conjunction with pop signs, form a physical process of sensual flat-on-flat layering that reveals multiple perspectives and optical depths. \ud \ud The layering, which is consistent in whatever medium he chooses to work with, is part of the fracturing process, the breaking up or ‘exploding’ of a recognizable image, a response says Stubbs to broadcast and internet images of violence and confusion that seem to fill our world. Amorphous shapes intrude into Stubbs’ picture planes, fragmenting the surface; it is as though the physicality of the all the works here are coming up against the pixilation of the digital image. Yet there is an overriding seductiveness in these works; the perfection of the finish and the boldness of the palette alleviate the chaos of the visual explosion. This is picture making being interrogated in a serious, sensual and often irreverent way.

Share - Bookmark

Cite this article