Paintings (Squares), 2004

 

Red or Black Gouache on Various Sheets of Paper, 50 x 70 cm

The paintings are done in four brushstrokes using a 12 cm wide flat brush. The strokes are applied in mechanical way from upper left to lower left, lower left to lower right, lower right to upper right, and upper right to upper left corner resulting in a square formed from a circular structure.

The gouache is thinned just a bit, so that the strokes start to break up into a line pattern towards their end. This is overlaid by the following stroke resulting in a grid like or woven pattern where broken up strokes overlay. These make a figure emerge from the otherwise flat and monochrome paint.

Paintings (Squares) is the first piece, in which I have actually painted. It picks up the question of a figure that shows a squarish structure as a result of the method in which it was produced. Remember Me (2000) and Jpg-Artefacts (2004) are other examples from my digital practise.

As well as enquiring into the nature of such figures, I also wanted to understand the direct involvement of my hand in the work and to see what kind of decisions have to be made during the process. My experience was that painting as leaving a more or less conscious mark on the material puts the artist at a loss as far as the reason for his choice is concerned. A methodical approach to painting appears to better allow and to stabilise the claim my hand makes on the paper. Of particular interest to me is the half-randomly occurring breaking up of the brush mark. The figure, while relying on the square outline as a result of the method, emerges not as a direct result of the brush (that is the square itself) but as an organic structure embedded in such a result.

Aesthetically, Paintings (Square) borrow from the involvement of chance in the production phase of an artwork. The work, however, does not promote chance in a manner of Dada, but rather embeds it in the dominant figures of grid and square that highlight the importance of the constructed and mechanical painting process. That the work is paper based is important, because the figure (square) need not negotiate its relation to the edge in the same way as a figure on canvas does. Paper needs also not to be grounded, thus separating the figure more radically from the background. Such separation reminds of minimal strategies that make the simplicity of the figure stand out and highlights the mythical element in modern art.


 Test Page by Julian S.

Michael Schwab

CV

Documents

 

News

Wieviel Wissenschaft bekommt der Kunst?
Oesterreichische Forschungsgemeinschaft, Wien

4 & 5/11/2011

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Imagining Imagination
Royal College of Art, London

10 & 11/06/2011

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Suspense - International Symposium
on Rethinking Research
Cinema Zuid, Antwerp

04/05/2011

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Modes of Collaboration between
the Arts and Sciences,
ZHdK, Zurich

29/04/2011

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Architecture + MIT 150

25-27/04/2011

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Drawing in an Expanded Field
Academie Royale des Beaux Arts
de Bruxelles

25-27/02/2011

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Habitus in Habitat III
Synesthesia and Kinaesthetics
ZfL, Berlin

22-24/10/2010

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Unexpected Variations
Orpheus Research Center in Music, Ghent

15-17/09/2010

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Please support the
Journal for Artistic Research (JAR)

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Arts Research: Publics and Purposes,
GradCam, Dublin

15-19/02/2010

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Components of the Image
Exhibition 036 at SWG3 in Glasgow

09-18/10/2009

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Sensuous Knowlege Conference 6
Bergen, Norway

23-25/09/2009

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International Walter Benjamin Association
Antwerp, Belgium

14-17/09/2009

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First, the Second:
Walter Benjamin's theory of reflection
and the question of artistic research

Journal of Visual Arts Practice (7.3)

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International Seminar 'Light Touches'
Figures of Touch Research Project
University of Art and Design, Helsinki

10-11/06/2009

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The Difference between Art
and Art Research
Züricher Hochschule der Küste

23-24/04/2009

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Creative Practice, Creative Research
York St. John University


Download my paper in the 'Documents' section.

25-17/04/2009

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The Art of Research: Research Narratives
Chelsea College of Art and Design

28-30/10/2008

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Research into Practice conference
Royal Society of Arts

31/10/2008

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/seconds issue 9
vanishing point, the vicious and virtuous circle

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Conference Contribution and Exhibition

'Figurations of Knowledge'
5th Biannual European Conference of the Society for Literature, Science, and the Arts (SLSA), Berlin

02 - 07 June 2008


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Paris

Book Launch

18 May 2008

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The Full Circle
A collaborative project by Eduardo Padilha and Michael Schwab

Studio 1.1, London

11/05 - 01/06/2008

Private View:
10/05/2008 6-8pm


Artists' Talk:
25/05/2008 3.30pm

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Full Circle Family Workshops

Gasworks, London

19 - 22 February 2008

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Keynote Paper and Exhibition

'Art and Research: How?'
International Conference at the Estonian Academy of Arts, Tallinn


14/15 February 2008

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Artist Talk

'figure' at the Tramdepot Gallery, London

3 February 2008, 2pm

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Figure

The Tramdepot

Private View Friday 25 January 7 - 11 pm

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As if something once mentioned, now plain to see

Book by COLONY, Birmingham

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The Full Circle
A collaborative project by Eduardo Padilha and Michael Schwab

Huisrechts, Amsterdam

13.9 - 16.10 2007

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Political Art 2007 Almanac
Reunion Projects

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Artistic Research and the Role of Critique.

In: van Koten, H. (ed), Proceeds of Reflections on Creativity, 21 and 22 April 2006.

Dundee: Duncan of Jordanstone College, 2007. ISBN:  1 899837 56 6.