abstract art
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This piece was created using the thumbtack pattern used in the first 5 ‘configurations’. The pattern of dots is repeated here 12 times, as can be seen by the slight grouping of density. The colour choice was made by taking a random set of colours, arranging them in order of darkness and then matching that
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In configuration 9 the rule I used was that instead of using colour as the positive element dictate the fill, I’d let the traditionally negative elements i.e. white and the background prime colour dictate how the fill is carried out. This comes from how I have begun to read into John Cage and Robert Rauschenberg
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No two coloured tiles are made adjacent in this piece. The colours were applied in a very different method: The main colour of a tile was determined by the number of adjacent tiles it had. This was then blended into from the sides that had an adjacent tile with a colour that corresponded to the
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This piece used the Victoria station photograph as its source but with the harsh clusters of colours found in ‘Configuration: 6’, where I didn’t have the compositional choice I used in ‘Configuration: 5’ and the paintings before, I decided to reintroduce the ‘no adjacent coloured tiles’ rule. The colours were decided by colours randomly
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This ‘Configuration’ has a different set of rules to the others. Whilst the previous 5 were based off of the positions of pins on my notice board, 6 is from the positions of people’s heads at Victoria Station as taken from a vantage point. The lines again are drawn at whim but the colours
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Acrylic on Canvas. I really like the way this piece turned out. The colours seem to join well together for me (being colourblind I can’t say that this is the same for everyone) and I think the way the drawing was laid out really gives a lot of space and attention to every facet.
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Having all but removed the lines from a painting, this time, I decided to remove the colour and leave the lines to play amongst themselves. This piece uses 4 of the source image which has resulted in the 4 clusters that are visible within the work. The piece itself is sort of reminiscent of
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Acrylic on Paper. Having thought about the use of shape and line within constructivist works, this time I decided to put the drawing underneath a priming layer, also using this as a way of stretching the paper before painting to hopefully reduce the surface distortion that occurs as paper is wetted. This method has really
Robin Leverton 