50X50, 100% cotton stretched canvas, acrylic double primed , outside.
One of them painted with silver chrome acrylic spray layer for outdoor surfaces.
may 2008, Brussels
This project was based on the idea to regard the weather as a kind of mystical medium,to do anything except to observe the evolution of natural process and trying to catch some moments of this self-creation by pictures documentation.
“CONDITIONAL PAINTING “ shows that a canvas can be more than just, well, a canvas. As the word has come to be synonymous with something that is utterly neutral until someone or something adds to it, the simple idea that the canvas itself can be a medium as relevant to a work as the painted surface itself, absorbing the exterior conditions comes as a pleasant surprise.
A painting is not the colors on the surface of the support. In this way, the “colors” and the support are fused into a painting, by the almost miraculous mediation, or rather the messenger of nature. The grace, surprise and mystery of a painting lies exactly in this transformation.
The smooth surfaces , however, when illuminated by the overhead result in topographies of light and shadow, with “colors” that vary, one from a white of virgin canvas, the other one, clean metal grey, to a various natural tones…Temporary interaction and layers evolution.
The effect is surprising with each day, with rain, beams of light shooting across the canvases. It is this element of installation,outside, and the idea that these paintings are at rest when the lights go as the night comes, that makes this project truly alive.
A painting in reverse: whereas most painters mix colors to affect a look of light and shadow, the weather manipulates canvases and the source of light to create contrasts of highlight and shadow.
Considering the endless possibilities of lighting influences, these paintings become limitless in their potential, and for better or for worse, the act of display becomes all the more crucial. Here we can to discover that nature is the most delicate and precious of media.
May 2008, Brussels ©ada rajszys