Why Post Contemporary Art

From the time of the cave paintings, visual artists were able to communicate in depth and just like in any other art form, this attribute is of the greatest importance. When the word “Contemporary” was put in front of Art, the term Art should have been removed, since it opened the door, for everything other than works communicating in depth.

There are masses of concepts and styles waiting to be explored. In my own exploration I have gone back to the period of works that manifested such communication, and used the concept of those days as a stepping-stone to the future, but without repeating any of the styles of the works created at that time.

I would like to share my work with likeminded artists, with the object of bringing constructive energy back into the visual arts. There is already more than enough negativity in the world. We, artists need to think about the future when we create.

HOW DID I MOVE FORWARD TO POST CONTEMPORARY ART, RATHER THAN GOING BACK TO MODERN ART.

I have always enjoyed the idea of taking quite different elements and creating a harmonious composition.

I have only been able to do that because of Victor Pasmore. His understanding of space and composition was outstanding, and I have never come across anything like it since. A good example is a series of works that I created in 1990 that I called BEYOND THE EDGE. In this series different elements on each painting moved in a completely random manner as if they had a mind of their own.

Normally a painter would have a particular style, at least for a while. In the PCA works however the painting style has to be right for the whole composition. So the styles vary enormously, some from my earlier work and some newly created.

As I started this series I was clear about my objective, to create entirely new works that would communicate to others in depth, but I had no idea how I was going to do it. From the outside It looks as if the works from 1 to 106 were a very carefully planned development That was not the case, when I was creating a work I had no idea what the next one would be.

I started slowly with several works using a QUASI, a shape that I created that was an image between the question mark and the explanation mark. These were no more than a starting point.

Then I started to use various elements in the painting, bronze sculptures, metals etc. I made a whole series of different elements that really did not belong together, but made them harmonious. I called this group INCONGRUITY.

Then I made 4 or 6 paintings photographed them, fed them into a computer and manipulated each one and then composed them into a final work. The extent of the computer manipulation can be seen on PCA 66 and PCA 72 where the elements were originally calligraphic images brushed on paper.

Then there were works using frames in every way but that which they were meant. Also paintings projected forward.

The next group I called Blockbusters. Paintings that had other paintings projecting out toward the viewer made in different ways. See PCA’s 83a, 85a, 86a, 87a, 88a and 93a.

Since 1995 I had an interest in holography and mostly made transmission holograms, they were more difficult to make than the normal reflection holograms, but I could make the image project out towards the viewer anywhere up to 20 feet. (During the Alexander Festival in London in 1992 one of the exhibitions was in an art gallery in Cork St. The Horrors of War hologram was in the front window facing out. I saw a policeman on the other side of the street. He was worried that the whole image would cross the street and that a car might crash into it.) While I was experimenting, I found that I could convert these transmission holograms into reflection holograms that could still have the same long projection of the image and were brighter.

The behaviour of images in holographic space is different from the behaviour of our normal 3D space, so I tried to combine them and found the results very interesting. I found that I could get the normal space objects to work harmoniously with the holographic space or to interfere with them. Various combinations are used in most of the latest works on this site.

WORKS FROM THE POST CONTEMPORARY ART SERIES SHOWN ON THIS WEB SITE.

SINCE 2008 106 WORKS HAVE BEEN CREATED.

PCA 45. A collage I had made in 1978, photographed in transparent form on a glass plate, surrounded by a painted image.

PCA 50. A combination of painting and sculpture. One of several using this combination, all with completely different forms of both elements.

PCA 60. A combination of painting, sculpture and a frame.

PCA. 66, One of several works where a number of painting were photographed and significantly altered by the a computer, then combined to make the final work. The image on the bottom left demonstrates the extent of the alteration that is possible, as this originated as a calligraphic image brushed on paper.

PCA 68, Painted images photographed altered by computer and framed along with a distorted form of the quasi.

PCA 69. Computer altered group of paintings, again the extent of the alteration seen from the brushed calligraphic image.

PCA 70. Computer altered painting plus acrylic painting and a sculpture.

PCA 72. Computer altered paintings plus bronze figures and frames.

PCA 73. Computer altered images surrounded by acrylic painted areas.

PCA 76. Computer altered images with Bronze figures.

PCA 80. Frames emerging from a canvas towards the viewer, at the front computer altered images.

PCA 82. Painted images of a ? Projecting towards the viewer.

PCA 83a. Side view of the first Blockbuster work.

PCA 85a. Third Blockbuster work.

PCA 86a. Side view of fourth Blockbuster work.

PCA 87a. Side view of fifth Blockbuster work.

PCA 88a. Side view of the sixth Blockbuster work.

PCA 90. Second work combining of two forms of 3D.Painting and Holography,

PCA 91. Third work combining of two forms of 3D.

PCA 92a. Side view of the seventh Blockbuster work. This time the blocks are receding.

PC 93a. Side view of the eighth Blockbuster work.This one incorporates 21 different forms of painting.

PCA 94. A combination of painting, sculpture and Holography.

PCA 96. A different combination of painting, sculpture and holography.

PCA 98. A very different combination of painting, sculpture and holography.

PCA 100. A combination of painting and holography.

PCA 101. A combination of painting and holography, plus a glass rod and metal rings.

PCA 102. A combination of painting and holography, with a 3D structure rotating within the holographic image.

PCA 104. A combination of painting and holography.

PCA 105. A combination of black Blockbuster with wires and a hologram with a transparent ball mounted inside the image space.

PCA 106. A raw canvas with lines and colours and bronze sculpture.

Literature available for you to download

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