antony clarkson
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Apophenia:
​An Uncanny Presence.
2022

Picture
Whilst exploring painted spaces via my Personal Topographies series I was constantly aware that the next development in this painted process would be the introduction of abstract presences. Although I have been using the word presence to denote the manifestations in my work, I am now wondering if it is perhaps the best word to use. If the presence in question is always, pseudo human should I be considering the idea of anthropomorphism instead? Or perhaps in more global terms pareidolia? Or more properly apophenia? ​

Conscious vs Unconscious?

1/29/2023

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Picture

NN (Nomen Nescio) V: An Uncanny Presence.
Oil on canvas, 123 X 91 cm (48 x x36 inches).

When we observe anything how much of it us conscious and how much subconscious? When we encounter a traditional figurative painting we apparently analyse it with our conscious mind. It's a human figure, the figure is male, it has blue eyes. It has red hair and beard and a bandaged ear; its Vincent Van Gogh. But although those clues are obvious are we going consciously go through that process? No, of course not. Our eye see those details, our subconscious mind connects the dots and gives us an instant conclusion, we are looking at a painting of the artist.

Every day we can do the same with much subtler details and we do it every second of our lives. Even the slightest variations in the shade of blue of the eyes and the red of the hair can tell us the difference between Vincent Van Gogh and say Prince Harry. This is where our apophenia plays a positive role. 

But what about when the details are ambiguous? One persons blue eyes may be another grey.  Then our minds are left with a more uncertain field for our interpretation. There may be multiple clues, dots, but there may be more that one pattern that can be obtained through their connection.  And sometimes there may not be any real clues at all, except the ones that we want to perceive. 

​
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Why paint?

1/19/2023

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Picture

Work in progress. NN (Nomen Nescio) VI: An Uncanny Presence.
Oil on canvas ,123 × 91 cm (48 × 36 inches)

​According to Tate, ‘Painting is the practice of applying paint or other media to a surface, usually with a brush. In art, the term painting describes both the act of painting, and the result of the action – the painting as object.

The intention of my new work is…to paint. But paint what? Nothing. Nothing definable at least. That I leave to you, the observer and your apophenia. I paint for the action of pure painting, the sensual release that I attain from the practice of painting, and perhaps transmit via the painting as object. Paint on top of paint, paint beside paint, colour vibrates next to colour. Tints, tones, shades and hues vary. Paint covers colour, colour reveals paint. Lines makes shapes, shapes make lines. Painting is done.
​
So, having defined what (a) painting is and why I paint, what does ‘the painting as object’ do?
To define what it does is more difficult, as it may do many things, but let’s try to simplify it.
Does a painting pass information? Sometimes, but not always.
Does a painting provoke emotion? Often, but again not always.
Does a painting make us think? Hopefully, but once again, probably not always.
If we consciously engage with a painting, is it intended to do the above? Generally, a painting is created to do all or at least some of the above in varying combinations.
But are the notions of openness, empathy and thought purely conscious? No, of course not, so how does a painting interact with out subconscious? 
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​When does a painting start?

1/11/2023

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Picture

NN (Nomen Nescio) IV: An Uncanny Presence. Oil on canvas.

At what point do brush strokes on a canvas coalesce into an 'image'. or at least an idea, as opposed to being just an abstract expression of depth? When and how do these marks attain the critical mass necessary to become greater than the sum of their parts?

I'm asking this question in regards to my own current paintings; although it is applicable to all paintings.  On the whole this consideration would suggest that it is solely the concern of figurative painting, not flat abstraction. However I intend to argue that all painting is by it's very nature flat abstraction. And that it is only via the process of apophenia that we ever make that mental leap from brushstrokes to idea.  

Over the next few weeks and blog posts I will consider critical theory from many commentators on art; including Clement Greenberg, Leo Steinberg, Donald Judd, to assist my evaluation of this theory. 


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  • CODEX
    • plane >
      • Apophenia: An Uncanny Presence.
      • Control(s)
      • Personal Topographies
      • The Self-Isolation Residency
      • Americana
      • Mauve Skies
      • Scotland
      • Selected Drawing & Paintings,
      • The Teaching Years
      • Spatial Paintings 2006-2008
      • Paintings 2006
    • mass >
      • The Blind Men and the Elephant.
      • Spatial Conceptions 2014 - 2022
      • Painted Objects
      • Autograph
      • The Newtonian Nightmare
    • volume >
      • Enso nest
      • Someone else's storey
      • Shower, The Process Residency 2013,
      • Concrete Haiku
      • Atypical
      • The Murder of Crows.
      • Composition in White (Painting), The Breathe Residency:
      • Composition in White (Sculpture), The Breathe Residency:
      • Floorplan
      • Paper Scissors Rock
      • Pilgrimage
      • The Fifth Column
      • Tension
      • Arch
    • blogs >
      • The Self-Isolation Residency: Blog 2020-2021
      • Apophenia: An Uncanny Presence. 2022
    • artist statement
    • cv & education
    • contact