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? ​

Colouring inside the lines.

4/19/2024

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Picture

Crow. 2024. Found objects (complete 8 piece clamp set).

Just because we play doesn't mean that we don't take care of our toys and put them back in the box after we are finished with them.

P
eople will often say that artists 'colour outside the lines', by which they try to suggest that artists employ an air of creativity driven by chance. And my previous blog comments about the nature of play may suggest that I subscribe to such ideas. Chance however is the least useful tool in a real artists repertoire, no 'happy little accidents' need apply here Bob. And as for pouring paint, well where do we start...

On the whole an artists greatest tool is control, It may be true that from time to time something unexpected happens that can enhance a piece of art. Even within a controlled system there is a small element of chance which can be appreciated and taken advantage of by an artist. Many modern and contemporary painters work in a loose style which is probably what suggested this notion of chance to begin with.  People tend to mistake these artist's styles for a lack of control; nothing could be further from the truth. Even, or perhaps especially, a painter with a looser, freer, style will carefully consider each brushstroke before, during and after its application. 

When I create a sculpture such as Crow (above) from found materials I set myself certain ground rules which control and limit the playfulness of the operation. That may sound like a very calculated way to work but it is all part of the concept behind such pieces. The rules that govern this type of creation are actually very simple:

Firstly, I must only use the materials presented. No other materials, including fixings or glue may be utilised. Crow is just held together by the grip of the clamps themselves. 

Secondly, I must use all of the materials presented. No parts can be left out. Crow is constructed from all of the components of an 8 piece clamp set (pictured below). 

And finally the parts used must not be modified in anyway which would affect their day to day use. All components must be able to be returned to their original function at any point. 

Crow takes its name from both noun and the verb: crow.
Picture

Fledgling crow. 

Picture

Crow!

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  • CODEX
    • plane >
      • Apophenia: An Uncanny Presence.
      • Control(s)
      • Personal Topographies
      • The Self-Isolation Residency
      • Carved From This Land
      • Photography
      • Spatial Paintings 2006-2008
      • Paintings 2006
    • mass >
      • Second Skin/Second Life
      • Crow
      • 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 statements >
      • Antony Clarkson, General Statement, 2012
      • Antony Clarkson, The Apophenia Series, 2025.
    • cv & education
    • contact