Art of the matter

About


I have no formal training in art, but started creating digital images in MS Paint in 2003, initially as an effective and inexpensive way to generate visual content for classes I was then teaching. The medium readily lends itself to subjects like Geography, the topic of topography in particular. Students were able to create satellite-like images of the makeup of landscapes, the outlines of which were then left to their own imaginations. Such exercises engaged them in a great deal of creativity, informed by scientific evidence, coupled with the fact that they could save their work at various stages as essentially unfinished pieces that could be later revisited.

I continued creating my own images in this medium over the years, irrespective of what I was teaching. I had the opportunity to briefly try the more advanced Photoshop software in about 2009. Although I did not immediately click with it, some elements of it spoke to me and I used it for a few images. Even though I never used it again thereafter, I instinctively kept on returning to segments of images in which it had been used. I transferred these into MS Paint and used and manipulated them over and over. I resized, squashed and elongated them, just like a blacksmith shaping metal, as if I were digitally recycling a limited quantity of scraps, shreds and samples of an image and using them to fashion new ones. As a result of limiting myself this way, a degree of continuity has been achieved throughout many images.


However, I only started producing hard copies of these images on canvas in the summer of 2019, born of the desire to view them outside the computer screen and to see how they appeared in a larger format when printed using the Giclee method. The end results were better than expected and inspired me to continue with this endeavour on a number of selected images. The majority of images on this website have not as of yet undergone this final process and thus act as blueprints for future endeavours by myself, be they on canvas, aluminium, paper, glass, etc.


The idea of continuity and things are interconnected is a theme I try to explore in many images. I think vision is partially our perception of repeated patterns, so what is viewed through a microscope becomes what can be seen through a telescope and vice versa. This becomes very obvious when working at the level of magnified pixels, as the process becomes one of rearranging repeated patterns to expand the overall litany of repetition, still arriving at differing effects and creating a measure of pixel symbiosis through the use of collage.

To further affect this notion, I also try and include parts of previous images in all my pictures. When this is not achieved, I place a moon, planet, asteroid, black hole, sun or meteorite to give perspective to a piece, placing the action squarely where it is occurring, somewhere spinning in the universe. Although I did not intentional set out to do this, the process by which I create images evolved this way: staring at pictures I had created, I would see patterns for another image within them or act upon the suggestions made by another viewer about what they could see.

It is for this reason that I have not had to actually paint/draw anything new for a number of years now, but instead discern, trace and cut out segments from the bodies of existing images and then piece them together as collages to arrive at new ones. Observing one of my images therefore involves the viewer looking at a litany of work created years ago, much like observing light from a star. The uniqueness of each piece lies in the fact that it is indeed unfinished, since I repeatedly return to it, magnify and keep inputting pixels.

In September of 2020 while still shielding from Covid 19, I started incorporating photographs into my work. I employ the same technique I used previously, selecting and copying samples from one image and pasting it into another using MS Paint circa 2008. I use photographs provided by a close friend in Budapest, Timea Acs. Her range focuses on land, water and sky from places like Sardinia, Israel and the Buda hills and is employed to create a series of images I refer to as Rock Art. Her keen eye for striking rock formations and the ability to faithfully capture them in photographs constitute an integral element to my recent output.

Inspiration comes from a number of sources:

Landsat images of the 1970s.
Images encountered in Photography Year Books while briefly attending the London College of Printing in the mid 80s
Pictographic images encountered while studying at the Institute of Archaeology, London, in the mid 90s
Photos from the Hubble telescope.
Concepts and characters explored in an unpublished novel. My current output is an attempt then to transform unfinished words further into unfinished visuals.
Type 1A Supernova of 2015 in the galaxy M82, which I was fortunate enough to witness, initially with the naked eye and then with the aid of a child`s telescope from my veranda in Budapest.
Jazz, Ragtime, Soul, Rhythm and Blues, Reggae and many other genres of music
Pointillism / Impressionism

A number of these images are now presented for viewing to a larger audience but it is assumed those doing so cordially respect copyright infringement laws as they relate to the rights of the creator. Thank you.








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