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Thursday 20 September 2018
Saturday 15 September 2018
WORK AT AFFORDABLE ART FAIR LONDON OCTOBER
There will be a series of my new Gold Block paintings and two solar discs on display and for sale at the Affordable art fair London
At Battersea Park London Oct 18-21 2018
My work will be at Will's Art stand H10
At Battersea Park London Oct 18-21 2018
My work will be at Will's Art stand H10
Drop by if you are nearby, always a good event.
Supporting statement recent body of work
Russell Frampton
The Gold Block series and Solar
discs.
The Gold Block series
This recent body of
work is informed by my continuing research into the physical and metaphorical
nature of archaeological artefacts and votive objects, allied to the
referencing of the symbolic forms and materiality of alchemy. Central to this
practical investigation has been the use of ‘gold’, and the qualities that the material,
with its obvious chromatic and symbolic values, seems to possess. This has
driven both the conceptual and pragmatic concerns within the evolution of this
work. Gold is an alluring and complex symbol of many, often conflicting
meanings, avarice, greed, wealth but also of purity and celebration, and has
been used as the adornment of spiritual and religious iconography as a
devotional act for millennia.
In terms of my process,
I apply metallic imitation gold leaf to a canvas ground of dense acrylic black
paint, using aerosol adhesives and I overlay water based varnish to seal the
leaf. The method of application involves the manipulation of each sheet to form
tears and cracks and I allow chance marks to work with pre cut shapes from the
sheets to gradually form a final composition. The ‘painters eye’ for how a work develops is informed by the
complexities of both the large structural elements and the detailed minutiae of
the fissures and cracks that open almost like river tributaries or coastline.
The leaf is in a way ‘carved’ to allow the black ground to become the ‘graphic’
mark, with each of its surrounding areas displaying a range of ‘weathering’ and
surface anomalies that imparts an organic sensibility to the surface.
There are also references
to the architectural structuring of the plan view, and the aim within each composition
is to create a self-referential sense of order and balance, but one that allows
the dynamics of both the materiality and the constructional process itself to
be paramount.
Whilst I aim to impose
no real sense of the ‘recognisable’ within the forms that occur, there is often
the tendency for the viewer and the artist to interpret them. Perhaps these
canvases are inviting a ‘Rorschach test’ like response, where the subconscious
of the viewer can in a way, complete the picture. Some of the forms that
manifest to me personally refer to mythology, ancient history and my own
painterly history of mark making and the personalised, autographic construction
of symbolic forms over many years.
The titles refer to
connections I have made with the forms themselves, often when making a painting
a word will emerge which acts as a form of poetic catalyst. ‘Parsival’ or
Percivale/Peredur was the knight questing for the holy grail, ‘Taranis‘ the Celtic
god of thunder, ‘Votive forms’ reminiscent of the objects ritually deposited in
well shafts to form archaeological strata.
The Solar Discs
The Solar discs are
direct references to established archaeological finds. The idea of the sun as a
form of deity has been represented in cultures ranging from the Neolithic
through Egyptian and Greek periods to its continued use today. The disc acting
as a form of codified, calendric wheel of prediction, that is both a
cosmological instrument of measurement and a receptacle of meaning of lore and
knowledge. The discs also relate
to the constructional form of wooden slatted, warriors shields, with the
central circular space where the protective shield boss would be. The surfaces
are incised, chiselled and drilled to suggest the weathered and aged patina of
a rediscovered artefact, one that bears the marks of both its implied practical
and mythic use and its constructional history. The symbolism of the shield as a protector, a barrier, and
as the carrier of insignia, as well as its obvious wheel like connotations, are
aspects of the depth and diversity of associative responses to this work.
Russell
Frampton Sept 2018
Russell Frampton MA, PGCE currently works
as a lecturer in Painting, drawing and printmaking on the MA and BA program at
Plymouth College of Art and as a lecturer in Digital performance and Dance film
at The University of Plymouth.
Friday 7 September 2018
Printing Solar disc 2 at PCA
Working on series of relief prints of Solar disc 2 at Plymouth College of Art print rooms with the help of India, nice and quiet before term starts ........
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