I took two recent paintings in to the MAFA gallery space to place them in a new, well lit setting and to play around with the way I could present them.

Leant them up against the wall and against each other, creating a sculptural piece. ¬†–>From this I could add more paintings in to the mix, to create more of an installation?

My paintings aren’t intended to be viewed in any certain or exact way and this method of presentation – of placing/leaning them playfully in a space, emphasises their abstract/fluid/changeable nature.

‘The main thing wrong with painting is that it is a rectangular plane placed against a wall’, a shape which ‘determines and limits the arrangement of whatever is on or inside it.’ – Donald Judd. On Abstract Art, p.133.

The 21st faith exhibition was a great opportunity to see my paintings hung in a new way, in a large, industrial warehouse space. No white walls. The paintings were suspended, hovering in the space, with the viewer able to walk around my piece, viewing from all angles. Changes my paintings into elusive, ambiguous objects. ¬†–> What if I had a double sided painting? Place the piece in the centre of the room, to be viewed from all sides. –>

This relates back to the commission I did for Leeds council.. my paintings printed off in a new format, on to transparent vinyl and placed within sculptural letters, to be walked around and interacted with. –>¬†Digital conversation for my paintings. For the Leeds commission, I made the five, A1 size paintings, knowing that the colours would be digitally altered and the overall image would be cropped to fit and work in the structure. Challenges the process of traditional painting.

Leaning the two white sections of each painting together, I am suggesting an extension of the white wall they are leant against, running into the piece. The fragmented colour then becomes stronger and more built up further up the canvas.

Painting as sculpture. Painting as object. Painting in the expanded field.

 

 

 

 

Abigail Moffat