frames.

After pondering my last painting and sitting in front of the other two figuring what step would go next, I realised I really wanted to put a (compositional) frame around all of them. I wanted to tape off an inner rectangle, and take a thick solid colour right to the edge. I was worried that it would make my work look too ‘same-y’. I thought about why I wanted frames, and it all has to do with the nature of my initial process/ subject collection.

Ingrid and I in a previous meeting have talked about the smooth and striated spaces of public transport. We talked about my “Lyrics” – the commuters and the bus-ly happenings- as the smooth spaces, but the rigidity of the timetabling, the unchanging route of the bus, and the regulated circumstances as the striated space. The smooth would not happen without the striated.

I see gesture in my work as smooth. It’s organic, it’s bodily, it involves chance. The frames and windows in my work are the striated. It acts as boundary, restriction, and containment of the smooth. Sometimes the gesture creates a frame, such as in my previous work, the dots create a second frame around the painting, but both elements are still presented there.