Jackson Woodcock Somerset, United Kingdom
This body of work 'Aco Series' is concerned with the ‘found object’ through a macro focus into painting materials; reinventing found objects (Slates, Lime, Chalk) into painting materials through a process of alchemy.
My work is concerned with the term ‘found objects’ through reinventing selected objects into painting materials through a process of alchemy, implementing architectural elements as colour, surface and texture. Using principles of painting composition, I experiment with traditional board and canvas and utilise ‘found objects’ as autobiographical documents. Deconstructing formal compositions from art history, references from the Quattro centro golden section through 1950’s American Abstract Expressionism to 21st Century Provisional painting, I look to construct democratic paintings.
Using Flint, Stone, Ash, Timber and Slate, the process of sourcing and transforming materials begins; I create painting materials to establish controlled impasto compositions on board. Eschewing representation for qualities of grain, grit and porosity creates a systematic approach to the creation of a painting, which I consider to gain democratic qualities.
These artworks examine the visual tensions between painted walls of surface and the constructed walls of paint of our everyday environment. Using planes of artist-made ‘paint’, contrasting colour slices highlight the boundaries, controlling the viewers’ experience of unforeseen beauty. Referring to the Abstract Expressionism manifesto of painting to direct process and outcome.
I work with a responsive, intuitive painting methodology. I aim for subtle configuration of forms referencing collaged marks to create composition, whilst creating an illusion of space and a expression of feeling to create an abstract painting. However, this praxis creates conflict with the increasing importance of my artist made materials. I seek further to explore the possibilities and potential of the painted ‘mark’, materiality within painting practice and the impact of the shifting boundaries of the architectural landscape we inhabit. Developing my inquiry into the materiality of paint and further explore the potential of the ‘painted’ mark.