Shape, 2003

Crossley and Scott Gallery, Melbourne

All paintings involve images, and all images are shapes in paintings, and therefore ambiguity could be thought to be at thecentre of painting. Paintings hold multiple pictorial properties due to our simultaneous perception of images and shapes. This is also coupled with the various complex spatial relations that we can experience within a painting, some of these being ambiguous in terms of colour space relationships. Therefore, given the differing characteristics of painting, many of the works in Shape appear to purposefully hover beyond tangible comprehension, allowing for a variety of associations to emerge within each work, while providing a generally perplexing overall exhibition experience. 

Correspondingly, we could consider these paintings from the vantage of contemporary times. English philosopher Peter Osbourne, in thinking about how we might grasp the character of our times, considers that our contemporary is to be understood through conjunctions, where we experience the coming together of different but equally present temporary and fluid states. We recognize that everything forms and reforms, and then retro forms. Therefore Shape speculates that this is simply how things are for us - that we live within a continuing and arcane condition of moving progression. 

Photographs, the artist.

Osbourne, P., (2018), The Postconceptual Condition, Verso, UK.

© Peter Westwood 2020