antony clarkson
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The Athole House Studio
Self-Isolation Artist Residency
30th March 2020 - 7th November 2021

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Over my career I have taken part in many artist residencies in various parts of the world; I have even organised and run a residency program myself. 2020 has brought new challenges to us all, I however intend to treat these challenges as opportunities. With this in mind today, the first day of my self-isolation having arrived back from my studio in the Untied States last night, I I launch my new blog which will become an integral part of this website as I redesign is over the coming weeks.

Artist Residencies give artists the space and perhaps more importantly the time to make new work; I intend to treat my time in self-isolation in the same way that I would if I were on an artist residency in another studio in another part of the world. Athole House Studio maybe one of my home studios but for me it is a work space, and lets face it, we all now have the time.

THE SELF-ISOLATION RESIDENCY 14th FEBRUARY 2021: DAY 322

2/14/2021

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New work in progress. Working title: "Possible."
Oil paint on canvas, 610 x 610 mm

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19, 20, 21: Finding a reason to paint, in search of the sublime. 14th February 2021.
Part 29: 'Interpretation, abstraction, illusion.
An Unsettling Appeal: Insearch of the Sublime.

Landscapes, mindscapes, voids? Whatever I may choose to call these spaces today; I am becoming more and more intrigued by their volume and, potentially, by their contents. 
I am currently painting on either deep canvases, 38mm, or plywood blocks, 36mm. This depth of the support, particularly in regards to the plywood blocks, feels very significant. The supports are becoming a form of box to be filled with one of these mindscapes; in many ways this is a great signifier of the illusion of painting. These paintings have a form of objecthood without being sculptural or even reliefs; although I can imagine some of the brush marks becoming more impasto as this process progresses. But if anything, the current volume of these pieces is contained below the surface, as behind a sheet of glass on a fish tank. The alluded to volume of these paintings is of course much deeper that the inferred depth of the supports; therefore, perhaps in a way they are more akin to an old cathode ray tube television in its wooden surrounds rather than to a fish tank with its established parameters of confinement  in that they potentially have an infinite depths beyond their surfaces?
 
The more I consider these ‘volumes’ the more I begin to appreciate the way that some of my favourite artists also employ these same devices within their painting. At the moment I am thinking particularly of Francis Bacon and Yves Tanguy, both create a discernible depth within their canvas into which a cast of tangible characters is introduced.

To be continued...
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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