conceptualism
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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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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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Conceptualism grew from the misprisms (the creative misreading of a former art form) of Minimalist art. The concepts behind the minimalist works such as those by Carl Andre or Dan Flavin were opened up as the work rather than looking solely at the object itself, this was the dematerialisation of the art object. An irony
Robin Leverton 