Installations

Spatial Construct (no. 3) (2021),
120 x 300cm, Acrylic Paint, Canvas.
Installation view: Eleven Under Thirty, The New Artisans Gallery, Sydney.

Spatial Construct (no. 2) (2020)
Acrylic Paint, Wood Panels
Variable Dimensions
Installation View:
 Brenda Clouten Memorial Travelling Scholarship, Maitland Regional Art Gallery, Maitland.

Spatial Construct (no. 1) (2019)
Acrylic Paint, Wood Panels
Variable Dimensions
Installation View: Foyer Gallery, University of Southern Queensland, Toowoomba.

A-Symmetrical (2019)
Acrylic on Linen, Acrylic on Wall
Variable Dimensions
Installation View: Foyer Gallery, University of Southern Queensland, Toowoomba

Interrelation Series (2019)
Acrylic on Linen, Acrylic on Wall
Variable Dimensions
Installation View: Foyer Gallery, University of Southern Queensland, Toowoomba

About The Artworks

Artist Statement

The older painting gets as an art form, the harder it becomes to define. On the surface it does appear quite simple; a painting is the mediated result of an artist’s application of wet paint on a flat surface. However, with the Mechanical Age of Reproduction coupled with the Conceptual Art movement of the 1960’s, certain painters have been compelled to question the validity of traditionalist painting values in order to expand their works beyond what is expected.

An area of research addressing this evolution is called The Expanded Field of Painting. Within this field, certain painters are expanding their practices to break away from conventional painting parameters, and this has led to an amalgamation of painting with new media such as installation, sculpture and architecture. In early 2019 I began to explore this concept and I was drawn to the idea of painting and its association with a flat canvas surface. I recognised that the two-dimensional canvas felt like a boundary restricting my practice, so I began to consider how I could address this through my work. I decided to push my paintings in a new direction by expanding the painted artwork directly onto the wall. These painted installations subtly contested the abstract limitations of the canvas edge, and allowed a slippage to occur between two-dimensional and three-dimensional space. The canvas paintings were no longer isolated on a white wall; instead, the wall had transformed into a component of the artwork.

These artworks are relief-based installations that explore the bridging of painted and physical space to create a symbiotic relationship between painting and architecture. This series questions the validity of traditionalist painting values by drawing attention to the gallery space the artwork is situated in and rejecting the inherent flatness typically associated with canvas painting. Over the past two years, this series has shifted my perspective and continually encourages me to re-consider other established paradigms as I navigate the world of painting within the expanded field.

© 2022 Karri McPherson.