I recently made and stretched two large canvases (190 H x 160 W cm) with the idea to attach them back to back to create a double-sided painting. I flush mounted the two canvases together, so they can be taken apart if I ever want to separate them. Aiming for a more sculptural piece overall. Suggesting a third dimension within my imagery and through the structure. –> This element needs to be worked on throughout year. Materials: Acrylic & oil on canvas.

Making a stand –> metal workshop had two old metal stands, which I attached to the painting with two metal bars. Looking at a more industrial aesthetic for my work. –> Relates back to the paintings I had hanging in the 21st Faith exhibition, hung in a large industrial warehouse space. Industrial revolution¬†– research this transition within history. Looking at industrial reclamation within contemporary¬†art. Play more with metal.!¬†

With the stands attached, the painting can be placed anywhere in a room. The piece could be a screen, an advertisement billboard?

Also, how do the previous paintings I’ve made in the studio interact with this double-sided piece? Creating a dialogue between the different pieces. All the work has a similar appearance. Do they all transform into screens, playing different media on their surface? Do they all become items of furniture? Unusable furniture. The piece has been likened to office dividers, pretty ugly structures. I feel like the work is asking to be made in to an installation. –> Something to experiment with.

In my current work I hope to remind the viewer of the power of painting as an experience over and above the speed of scanning images on the internet and the seduction of social media.

The images I’ve included show the paintings thus far. Largest scale paintings I’ve done to date –> Aesthetically I wanted to paint two epic, landscape type images. Loose sky, land and sea, blending into each other. After doing my Pecha-Kucha I realised I’m heavily influenced by artists who create imagery which deals with landscape / interiors / mad worlds they’ve dreamt up or are interpreting within their painterly language. The contemporary painters I referenced tend to use sweeping brushstrokes which blur the boundary between abstraction and representation. Adrian Ghenie, Jason Martin, Alaina Turner, were some of the artists I referenced. Ghenie, in particular for me, has a powerfully, recognisable palette, I can tell Ghenie’s work apart from other painters. Easily defineable. As a contemporary painter I feel he nails the ability to pull the viewer into the imagery through the highly emotive, beautifully woven scenes of expression and figuration. Ghenie provides the viewer with a rich, stimulating experience through his raw technique and skill. For me, he gives POWER to painting. Painting isn’t dead!!!!

I do want to consider more carefully, the type of imagery I am conveying to the viewer. Futuristic landscapes which also suggest technological distortions? Portraying aggressive natural occurrences? My work often reminds people of weather cycles / mountains / volcanic fires? Ideally I’d like to keep working on the imagery within these paintings, work on the composition and lighting. Work with the colours, build on them more. They’re open to edit.

Adrian Ghenie




Abigail Moffat