Playing in Pools
Sophie Dickson自述
As an attempt to undermine the viewer’s reliance upon convention and meaning, I produce work that isn’t an exact representation of the initial object. This often results in the object not being legible to the viewer at all. My aim is for people to be absorbed in what the finished image might be but it is important for my work to have an opening outcome, something for the viewer to decide.
Over the course of my time here, I have been drawing a lot of street scenes. I began by experimenting with ideas, before working with paint and other materials on canvas and board, I have always used Boot polish and house paint, however here I have began using clay, Chinese receipts, and plastic bags that have now been incorporated into my practice.
The image I draw can be varied, some are shapes taken and developed from photographs I have taken in China, and some are first hand observations or drawings from artists’ books or magizines. I draw forms that embrace a new identity from its original object. I consider myself to be developing a body of work that is at once gestural and abstract whilst paying attention to the demands of a playful art practice.
Max Gimson自述
At it's core this body of work is a realisation that paint is a thing that perhaps doesn't always require someone to tamper with and construct narratives for.
Taking imagery from encounters with awful people and an accidental dump tackle on a child in a swimming pool as a figurative starting place, I have made paintings that have in some sense a kind of portal, pool or point of escape from their anecdotal routes.
You are invited to dwell both within the canvas, in environments that deal with the essence of objects and things, as well as beyond it, being pulled through and shielded from implied spaces that are potentially infinite and refuse to make sense
As an attempt to undermine the viewer’s reliance upon convention and meaning, I produce work that isn’t an exact representation of the initial object. This often results in the object not being legible to the viewer at all. My aim is for people to be absorbed in what the finished image might be but it is important for my work to have an opening outcome, something for the viewer to decide.
Over the course of my time here, I have been drawing a lot of street scenes. I began by experimenting with ideas, before working with paint and other materials on canvas and board, I have always used Boot polish and house paint, however here I have began using clay, Chinese receipts, and plastic bags that have now been incorporated into my practice.
The image I draw can be varied, some are shapes taken and developed from photographs I have taken in China, and some are first hand observations or drawings from artists’ books or magizines. I draw forms that embrace a new identity from its original object. I consider myself to be developing a body of work that is at once gestural and abstract whilst paying attention to the demands of a playful art practice.
Max Gimson自述
At it's core this body of work is a realisation that paint is a thing that perhaps doesn't always require someone to tamper with and construct narratives for.
Taking imagery from encounters with awful people and an accidental dump tackle on a child in a swimming pool as a figurative starting place, I have made paintings that have in some sense a kind of portal, pool or point of escape from their anecdotal routes.
You are invited to dwell both within the canvas, in environments that deal with the essence of objects and things, as well as beyond it, being pulled through and shielded from implied spaces that are potentially infinite and refuse to make sense
Max Gimson自述
At it's core this body of work is a realisation that paint is a thing that perhaps doesn't
always require someone to tamper with and construct narratives for.
Taking
imagery from encounters with awful people and an accidental dump tackle on a child in a swimming pool as a figurative starting place, I have made paintings that have in some sense a kind of portal, pool or point of escape from their anecdotal routes.
You are invited to dwell
both within the canvas, in environments that deal with the essence of objects and things, as well as beyond it, being pulled through and shielded from implied spaces that are potentially infinite and refuse to make sense.
At it's core this body of work is a realisation that paint is a thing that perhaps doesn't
always require someone to tamper with and construct narratives for.
Taking
imagery from encounters with awful people and an accidental dump tackle on a child in a swimming pool as a figurative starting place, I have made paintings that have in some sense a kind of portal, pool or point of escape from their anecdotal routes.
You are invited to dwell
both within the canvas, in environments that deal with the essence of objects and things, as well as beyond it, being pulled through and shielded from implied spaces that are potentially infinite and refuse to make sense.
