Coloured polyester resins on board
Dimensions: 24cm (H) x 18cm (W) x 3cm (D) / 9.4" (H) x 7.1" (W) x 1.2" (D)
Note: Actual colours may vary due to photography & computer settings.
Appendage with Yellow was exhibited at Making Painting+- in the Window Gallery, Phoenix Brighton. 20 March - 21 April 2019.
This was a solo show which included 36 works.
There is a review of the exhibition:
In that review Geoff Hands writes: 'In general terms, in Cole’s work the viewer can be particularly struck by the combinations of colour and shape that generate a subjective feeling of reverence for the variations of simple geometry and for the visual pleasure and satisfaction of the systematic arrangement of component parts. Just as the possibilities of the Japanese aesthetic of wabi-sabi delights in the ephemeral, asymmetric and discarded, the human psyche also adores the orderly arrangement of repetitive forms and impressions of perfection.'
Framing is not necessary for this Painting/Object as the resin drips visible from the side are an integral part of the art work
Based in: Brighton
Armed with clear rules of engagement and a highly particular approach and a technique, I add and subtract material in order to make a painting object. The approach could be characterised by process, it raises questions about the act of making and painting, the choice of subject matter as well as the finished object itself … It is physical! I may labour on a piece as if it were a construction, sometimes producing individual parts separately, sometimes pouring and sometimes painting with a brush to add, a component to the composition one by one. I have been concerned with how to combine a limited number of elements; clear regions of colour of different tints and tone in order to generate a rich and diverse encyclopaedic experience of possibilities.
In the act of production, the work provides a possible container for my ideas, experiments and feelings.
Neither wholly abstract or figurative the paintings are anchored in the concrete experience of production. They directly contrast the notion of a hand crafted or painterly piece of work with evidence of the artists handiwork almost absent.
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