Dave Lunt: July 2017

Thursday, 27 July 2017

New Work Summer 2017

I still have work on display at PS Mirabel for their 'Manifest' Open call show (for info on opening and location please see http://www.psmirabel.co.uk/ ), but in the meantime i've been busy working on some new pieces for exhibition in a future solo show/project.
Pictured are two paintings, the first is a continuation of the Perspex pieces (View 6 - The Facility) size A3 and the second titled 'Heatmap' Oil on Panel 50cm x 50cm. Alongside these I have been using my work to develop some basic animations using blender as an animation rendering tool. Now I don't profess to be any great film maker but I'm happy with the results so far. There is audio in mind to be added but as I'm not too sure about legality of using 'sound-bites' I'll leave them out for now.

View 6 (The Facility), Oil and Enamel on Perspex,A3,2017

Heatmap, Oil on Panel 50cm x 50cm 2016-17

Orbiter, Blender Animation 2017

Artists Statement

My current
practice is centred mainly around painted and drawn formats, alongside
photography, digital composition and occasionally collected imagery from magazines,
websites etc…
The most
recent project I have been working on has focussed primarily on mark-making,
line and gesture. However these pieces have an intentional ambiguous narrative
that hints at (and makes reference to) a number of differing sources and
interests that I find ever fascinating.
From a
young age I have been excited by tales of exploration and old maps, this in
turn has become an adult obsession with sea charts, aerial photography,weather
forecasts and many aspects of geophysical phenomena (in particular theories
relating to the formation of supercontinents) and has grown from a juvenile
love of the ‘fantastic’ nature of such subjects, into a study of the abstract
qualities of cartography ( ideas relating to scale and distortion) and it’s
potential.
Making
reference to literary work by Borges, Baudrillard, Verne and Eco, amongst
others,my artwork is a development of these interests, with the outcome being a
number of hyper-real paintings and drawings, simulated again and again using a number
of different mediums to produce works with a duality that questions both the
idea of the ‘Real’ and the ‘Abstract’.
Starting
with a series of old macro photographs (taken from a long since destroyed
series of gestural abstract expressionist paintings) these images have been
digitally manipulated and worked upon to create compositions with a far more
infinite potential, each work being a direct response to the last. What are
left behind are images that no longer have any origin in the ‘real’ world but
instead exist only through the emergence of their own mythology, a journey
through an undiscovered seemingly dystopian landscapes.