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Tussocks, Richard Morris
Tussocks, Richard Morris
Richard Morris
The notion of employing a methodology for the assemblage of paintings such as tussocks has traditionally been utilized with in the one case what could be described as ‘modular exactitude’ as seen in the works of such artists as Imants Tillers who amasses identically sized canvas boards to configure pre-planned, much larger paintings, and by contrast, for the formation of a ‘field’ as seen in the two-dimensional assemblages of Rosalie Gascoigne. However, a fusion of these two outcomes may be possible in which the assembly of fragment parts, is able to develop a syntagmatic configuration which has not been either …
The Interior Landscape: Metaphors For Faith And Belief In The Religious Paintings Of Colin Mccahon, Richard Morris
The Interior Landscape: Metaphors For Faith And Belief In The Religious Paintings Of Colin Mccahon, Richard Morris
Richard Morris
For artist Colin McCahon, the dynamic interplay of light and form he witnessed in the New Zealand landscape provided inspiration for the development of a pictorial language the artist has used to communicate the dynamics of his own Christian experience. Through an abstract visual vocabulary of shape, tone, and line which he largely distilled from the natural environment, and painted words and passages taken from the Bible, McCahon presents the viewer with paintings which chronicle his experiences of Christian faith and belief. What is fascinating about his work is that it seems to project such profound content through such minimal …
Torso, Richard Morris
Torso, Richard Morris
Richard Morris
The notion of employing a methodology for the assemblage of paintings such as Torso has traditionally been utilized with in the one case what could be described as ‘modular exactitude’ as seen in the works of such artists as Imants Tillers who amasses identically sized canvas boards to configure pre-planned, much larger paintings, and by contrast, for the formation of a ‘field’ as seen in the two-dimensional assemblages of Rosalie Gascoigne. However, a fusion of these two outcomes may be possible in which the assembly of fragment parts, is able to develop a syntagmatic configuration which has not been either …
White-Cliffs, Richard Morris
White-Cliffs, Richard Morris
Richard Morris
Paintings, such as White-Cliffs, which by nature are assembled from pre-painted fragments of some type or another can be seen in the work Vertical Stripes paintings by Karl Wiebke. Such painting is concerned with establishing pictorial structure via multiple and neighboring rectilinear, and triangulated shapes of varying colours. Tensions are formed amongst the vibrant matrix of such ‘parts’ largely through proximity. Such an approach overlooks the possibility of establishing additional pictorial tensions in the form of horizontal junctions, and physical component parts, which can be formed through not merely the application of paint, but also the physical placement of varied …
Still Life With Quirk, Richard Morris
Still Life With Quirk, Richard Morris
Richard Morris
Assemblage, such as still life with quirk, traditionally centers on the transformation of conventional objects, and materials into sculptural forms via assimilating processes such as stacking, welding, gluing, suspending, etc. Such works have the ability to trigger poetic associations to the viewer based on their prior experience with the materials and objects they can observe within the assemblage. Overlooked is the notion that assemblages can exist between the realm of functionality, and their more historic/conceptual position of aesthetic triggers for the viewer.
The Awakening, Richard Morris
The Awakening, Richard Morris
Richard Morris
Painting formal linear stripes in encaustic can be seen most notably in Jasper Johns Flag painting 1954-55. Johns work Flag works displays a use of thick encaustic to articulate the American flag on fabric mounted on board. The works utilize this methodology of mixing oil paint, and wax to form a thick impasto painting medium which gives substantial body to a painted mark. John’s Flag paintings exhibit uniformly painted stripes of alternating colour in a credible likeness to the original flag stimulus. What the work overlooks, is the possibility of adopting stronger painterly variation within the armature of a parallel …
Nooma, Richard Morris
Nooma, Richard Morris
Richard Morris
Breath is a group exhibition of works by Adventist artists in Australia. Nooma, which I exhibited in the exhibition, is a wall oriented assemblage which has a semi-functional role as a piece of wall furniture. The essence of assemblage is the combination or amalgamation of found objects into a three-dimensional sculptural totality. Such found objects could include shoes, scraps of wood, furniture, sporting equipment, or for that matter, just about any inanimate item that already exists. By contrast, Collage can be seen as a two-dimensional variation on the principle of assemblage, with the primary difference being that Collage does not …
Swing, Richard Morris
Swing, Richard Morris
Richard Morris
While it can be seen that swing represents a synthesis between the practice’s of Collage, and Painting, it does not appear to be concerned with configuration beyond that which has been achieved by chance within the modular grid of identical parts comprising the completed work. Such an approach to assembled paintings overlooks the possibility of infusing such a methodology with a more heightened editorial process of re-forming a pictorial whole through the more deliberate editorial technique of varying the dimensions of fragment parts to attain this new pictorial configuration. Swing can be seen as an aesthetic synthesis of the black …
Picknick, Richard Morris
Picknick, Richard Morris
Richard Morris
The notion of employing a methodology for the assemblage of paintings has traditionally been utilized with modular exactitude as seen in the works of such artists as Imants Tillers who amasses identically sized canvas boards to configure pre-planned, much larger paintings. By extension, Rosalie Gascoigne has employed a similar methodology for her works which amass small fragments deconstructed from real world artifacts such as road signs, into a new ‘field’ of painterly configuration. However, in the true sense of the word, Gascoigne’s work is more in the order of assemblage than painting. Overlooked in these two approaches to configuration, is …
Frames, Richard Morris
Frames, Richard Morris
Richard Morris
Paintings, such as Frames, which by nature are assembled from pre-painted fragments of some type or another can be seen in the work Brushstrokes Cut into Forty-Nine Squares and Arranged by Chance, 1951 by Ellsworth Kelly. While it can be seen that this work represents a synthesis between the practice’s of Collage, and Painting, it does not appear to be concerned with configuration beyond that which has been achieved by chance within the modular grid of identical parts comprising the completed work. Such an approach to assembled paintings overlooks the possibility of infusing such a methodology with a more heightened …
Lighthouse, Richard Morris
Lighthouse, Richard Morris
Richard Morris
Sculpture 26 is a group exhibition which has been curated by Robin Gibson from the Robin Gibson Gallery. The primary focus of the exhibition is sculptural works by the gallery artists, and invited artists both Australian and International. Sculpture continues to play an important role in Australian art, as can be seen in the regular inclusion of sculpture in curated exhibitions at MOCA and the AGNSW, and NGA to name a few. The work Lighthouse which I contributed to the exhibition is an assemblage made largely of painted plywood panels. The focus of the work, was to exhibit a a …
Firebird, Richard Morris
Firebird, Richard Morris
Richard Morris
Assemblage traditionally centers on the transformation of conventional objects, and materials into sculptural forms via assimilating processes such as stacking, welding, gluing, suspending, etc. Such works have the ability to trigger poetic associations to the viewer based on their prior experience with the materials and objects they can observe within the assemblage. Although, assemblage works such as Firebird typically do not involve audience participation in the sense that viewers are encouraged to engage with the making of the work in a collaborative fashion.
From Part To Whole: Synergy And The Assembled Trajectory, Richard Morris
From Part To Whole: Synergy And The Assembled Trajectory, Richard Morris
Richard Morris
The compositional flexibility inherent in an aesthetic compositional system such as the grid, and in the convention of assemblage, offer artist’s with a structural freedom to explore some evocative compositional possibilities. Examples of such possibilities can be seen in the assembled "trajectories" attending works which utilize a contiguous arrangement of discreet parts. A trajectory could be described as a discernable visual "logic," or visual coherence amongst distinct yet neighboring parts in a work, and in some cases, also their potential direction of interpretation. Such a trajectory may exhibit a unity of structure and fluidity of interpretation for the viewer, so …
Fire Crossing, Richard Morris
Fire Crossing, Richard Morris
Richard Morris
The assembled two-dimensional assemblages of Rosalie Gascoigne, exhibit a reconfigured concrete order via a process of de-constructing reflective plywood road signs. This methodology continues to underpin the practice of contemporary artists such as Tomma Abts who’s painting practice is neither abstract nor figurative, but a ‘concrete experience’ indebted to the material she employs in each work. The editorial process employed by each of these artists, has proved successful for the process of pictorial structure, yet to combine both of these methodologies within a single painting, such as Fire crossing, for the purpose of establishing new pictorial opportunities which combines painterly …
Fairweather, Richard Morris
Fairweather, Richard Morris
Richard Morris
Face 2 Face is a group exhibition which has been curated by Robin Gibson from the Robin Gibson Gallery. The primary focus of the exhibition is portraits by the gallery artists, and invited artists, of other artists, both Australian and International. Portraiture continues to play an important role in Australian art circles as can be seen in the annual exhibitions The Archibald Prize, and the Doug Moran Prize. The portrait Fairweather which I contributed to the exhibition is a zinc plate etching on Fabriano 220gsm paper. The focus of the work Fairweather, was to capture a likeness of the artist, …
Bay, Richard Morris
Bay, Richard Morris
Richard Morris
Paintings, such as Bay, which by nature are amassed from layers of deposited brushstrokes, have traditionally worked from the ‘ground’ to the ‘figure’ in the sense of differentiating figure/ground relationships in a work. Such an approach to paintings destroys much of the underpainting in a work for the purpose of resolving the compositional/aesthetic concerns of the artist. This body of work aims to employ a methodology of practice whereby the initial underpainting of a work is celebrated quite tangibly and visibly, in the final configuration of a work.
Edge Tracking, Richard Morris
Edge Tracking, Richard Morris
Richard Morris
Semi submerged detritus, and tangled rows of flotsam and jetsam have inspired the assemblage Edge Tracking which responds to the thin tidal edge of the Lake Macquarie foreshore. The work is a response to the tidal strip of land, which occupies the edges of lake Macquarie’s intertidal zone which lays between the high and low tidal extremes as this unique environment. The work attests to the linear geography of this intertidal zone, made up from both its long thin trajectories of washed up items, and a distinctly eroded shoreline.
Channel, Richard Morris
Channel, Richard Morris
Richard Morris
The painting Channel - enamel and butyl rubber on plywood 36cm x 32cm in the exhibition Richard Morris Paintings 2015 exhibited at ASW Art Systems Wickham, Newcastle., was formed by deconstructing pre-painted panels, into narrow rectilinear units, which have been re-assembled into a horizontally stacked rectilinear configuration. By utilising a strictly horizontal assembly or ‘stack’ of painted ‘splinters’ of plywood, each with distinct variation in both colour and texture, the work entails a type of stratification, suggestive of a landscape ‘field.’ Such notions can be seen to stem from a similar structuring configuration in the horizontal bands of earth, water …
Barking Whales And Breaching Dogs, Richard Morris
Barking Whales And Breaching Dogs, Richard Morris
Richard Morris
No abstract provided.
Crisp, Richard Morris
Crisp, Richard Morris
Richard Morris
The notion of employing a methodology for the assemblage of paintings has traditionally been utilized with modular exactitude as seen in the works of such artists as Imants Tillers who amasses identically sized canvas boards to configure pre-planned, much larger paintings. By extension, Rosalie Gascoigne has employed a similar methodology for her works which amass small fragments deconstructed from real world artifacts such as road signs, into a new ‘field’ of painterly configuration. However, in the true sense of the word, Gascoigne’s work is more in the order of assemblage than painting. Overlooked in these two approaches to configuration, is …