sound = text = image = economy = rhythm = simultaneity = colour = mathematics. The still lifes and objects painted are from my studio or plein air drawing – a “neutral” setting. From here, areas of the painting are isolated and evaluated to find an equivalent number, colour, letter, sound or movement. The idea is that the equivalent “repeats” the same composition through a different lens/language/sense. The presence that emanates from a face, finds an equivalent, abstracted in a specific other, which is an extension of my interest in synesthesia - when you experience one of your senses through another. A kind of cubism that relies on various conceptual inputs to describe what is being studied. With a false expectation of being a universal code of meaning, the intention is experimental and looks for applications in empirical observation.
Concrete Predictions by Emmett Walsh
Concrete Predictions is a new installation of sculpture, video and text that continues my practice of sculptural assemblages whose origins are found objects. The materials of human development and construction, the infrastructure that holds us in place daily – such as steel, concrete, copper – are used to make organic and symbolic pedestals for the discarded remnants. The process of building beneath, propping up, or the assembly of a support structure for these objects discusses the human desire to raise certain materials up. It also suggests the cyclical nature of our hold on mineral wealth. Objects are made, discarded, reconfigured; just as we build and destroy, rebuild, regurgitate. The oxymoron Concrete Predictions is borrowed from a British astrophysicist who was describing the human ability to observe and understand the universe; both the past and the theoretical future or end. It is a wonderfully ambiguous assertion that folds in on itself, encapsulating both our cosmic, intellectual ambitions, and our earthly restrictions and vulnerability.