© 2023 Simon Findlay
© 2023 Simon Findlay
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© 2023 Simon Findlay
Details
© 2023 Simon Findlay
Details
© 2023 Simon Findlay
Details
© 2023 Simon Findlay
Details
© 2023 Simon Findlay
Details
© 2023 Simon Findlay
Details
© 2023 Simon Findlay
Details
© 2023 Simon Findlay
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© 2023 Simon Findlay
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Marking The Shadows Of ing Trains / 12:51-1:31pm 16.12 (2023) Painting by Simon Findlay
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Acrylic on Canvas, 59.1x47.2 in
$2,462.42
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Marking The Shadows Of ing Trains / 12:51-1:31pm 16.12.2023 / Don’t Try To Reach A Neutral. Day 1 - Throwing paint with a broom. Day 2 - Gestural lines with a long pole and then folding it whilst it’s still wet. Day 3 - Marking the shadows of ing trains. Painted outside in 0'C. Translating the awareness of time (time of day, time of year) via [...]
Marking The Shadows Of ing Trains / 12:51-1:31pm 16.12.2023 / Don’t Try To Reach A Neutral
Day 1 - Throwing paint with a broom.
Day 2 - Gestural lines with a long pole and then folding it whilst it’s still wet.
Day 3 - Marking the shadows of ing trains.
Painted outside in 0'C.
Translating the awareness of time (time of day, time of year) via the specificness of shadows onto a physical medium. The Winter solstice occurred five days after this piece. For the most part, trains coming from either end are marked with the same brush, however this changes towards the end, becoming more non-selective with bucket choice.
There is a moment after you have painted for a whole day, when you stop and you look up at what you have done, and see that it is absolutely terrible. Terrible in form, in colour, in concept. Unappealing and inconsistent in almost every way. And in that moment, that is completely artistic freedom, for you know that having tried more than a dozen ways to slice and dice this piece, that you cannot fail more than where you are right now.
I experienced that with this work, it was what drove me to rip it off the wall whilst still wet and to fold it, transforming it in a way that was novel to myself.
This ongoing practice is focused on being in intense physical situations, as a way to engage with unconscious compositional processes and to remain more present throughout.
Day 1 - Throwing paint with a broom.
Day 2 - Gestural lines with a long pole and then folding it whilst it’s still wet.
Day 3 - Marking the shadows of ing trains.
Painted outside in 0'C.
Translating the awareness of time (time of day, time of year) via the specificness of shadows onto a physical medium. The Winter solstice occurred five days after this piece. For the most part, trains coming from either end are marked with the same brush, however this changes towards the end, becoming more non-selective with bucket choice.
There is a moment after you have painted for a whole day, when you stop and you look up at what you have done, and see that it is absolutely terrible. Terrible in form, in colour, in concept. Unappealing and inconsistent in almost every way. And in that moment, that is completely artistic freedom, for you know that having tried more than a dozen ways to slice and dice this piece, that you cannot fail more than where you are right now.
I experienced that with this work, it was what drove me to rip it off the wall whilst still wet and to fold it, transforming it in a way that was novel to myself.
This ongoing practice is focused on being in intense physical situations, as a way to engage with unconscious compositional processes and to remain more present throughout.
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Simon Findlay is a contemporary artist based in Berlin, , since 2016. His work explores a deeply personal relationship with color through durational and experimental visual expression. Simon's artistic [...]
Simon Findlay is a contemporary artist based in Berlin, , since 2016. His work explores a deeply personal relationship with color through durational and experimental visual expression. Simon's artistic practice is process-driven and often incorporates performance elements that challenge traditional painting methods.
His performances have included unique and bold acts such as throwing rocks during a snowstorm while dressed in shorts, limiting his palette to only blue for an entire year, and experimenting with unconventional painting tools like brooms and bendy sticks to extend the brush. He has also engaged in performances such as ripping and restapling canvases, throwing paint inside a transparent cube while accompanied by musicians, and a memorable piece where he stood on top of a washing machine to throw bottles of paint at the ground.
Simon’s art reflects his continuous exploration of color, form, and performance, pushing the boundaries of visual art in unexpected and dynamic ways.
- Nationality: AUSTRALIA
- Date of birth : 1990
- Artistic domains: Works by professional artists,
- Groups: Contemporary Australian Artists
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