The Rolled Canvas
















(Canvas Separation 2)                                                                          (Canvas Seperation 1)


The rolled canvas, two pieces whom I think were successes in their investigation to separating layers of colours in a physical sense. Having a pre stretched canvas and then re-stretching another piece of canvas on top, to then roll it back and attach it at the back. I believe that the effect of rolled up canvas conveys a sense of peeling back, such as peeling off a layer of paint to then re-attach it, such as in the the latex that I had used in previous paintings. I wanted to experiment with this idea of separating colours in painting in a physical way through layers of canvas and purely sticking to the existing materials that I had previously used. This was done mostly due to wanting to see what I could accomplish with the materiality of paint and canvas alone, overall I see these paintings as a success in ideas and theory however the final execution in “Canvas separation 1” in terms of the rolled layer in the middle isn’t executed like I would of wanted it to be. Some of the inspiration for these two pieces came from Julia Dault and her coloured rolled sculptures that I have mentioned in my previous magazine post, when seeing these pieces of work I saw the tension which it took to hold the works together and the curvature of the pieces. I was relating to the idea of 3D and how I could include this in my quest of colour separation, so I thought of the canvas itself creating this sculpture coming out of the painting. Something that has been investigated and executed well in abstract art over the 70’s, like Anselm Keifers large paintings or like Rauschenberg, however I thought this was far too extreme in a way to combine sculpture and painting. The idea of protrusion of colour within the painting, that the tools of canvas are “protruding” and coming back into the painting.

An exhibition which I visited later on after creating these works was at the Cortesi Gallery where they showed Jorge Eielson “Matter, Sign, Space” which was curated by Francesca Pola. I saw similarities in my rolled up canvases to his work, that there was a sign of performance within the paintings, a suggestive side to the medium instead of a representation. Eielson uses is inspired by languages and signs in his work, especially in the knot and tension that s formed in the fabrics, creating what he called “Quipus”, deriving from an ancient language used by pre-Columbian Incas of Peru. What I was gripped by was this tension in  the fabric its protrusion from the canvas and it being reattached, it almost seemed as if the tension would break the frame, showing a sense of performance in the work. This is something that then instigated my thinking to stretching and wrapping my paintings, showing tensions where latex has ripped from me pulling it across the canvas, challenging the material to the end of the corners and itself.