Kirra Jamison‘s paintings from her ‘Locomotor’ series are a riff on silk screens she did for a previous series called, ‘Total Control’. In short these beautiful bold, geometric forms are conceived in the flat colour world of the printing process. The paintings make fun of the rigid techniques of the silkscreen process – a pre-meditated technique with everything planned out in advance, colours organised, ink pulled in one direction.
For these paintings Jamison went looking for expended paint on the floor of her studio as well as the vinyl offcuts, the unemployed negative spaces left behind from previous work. With these remnants she created working abstract collages which became the basis for the paintings. She puts it perfectly on her website:
The large-scale paintings bloomed from the screen-print series, keeping and breaking its rules. The painter mimics the silkscreen’s layering process, its heavy pigment deposits and its moveable cut-out, pochoir effect – but is freed from the one-directional, one-chance pull of ink across screen. The paintings also make use of vinyl; as Jamison explains: ‘the vinyl pieces act as readymade abstracts … and also as misshapen paint swatch cards.’ The shapes and colours gather energy – both locomotor and light – as they change scale from hand-size to much larger than the painter.
These are exemplary studies in colour and composition, each form minutely explored, meticulously considered. It is wonderful work that reflects the beauty of light and the ability of this young Australian painter to abstract it, to create a dynamic composition out of ethereality.
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