Currently indexing
30 Days (Orange)
Collection:UAL Art Collection
Date: 2010
Artist: Ralph Hunter-Menzies (Scottish)
Dimensions:
10 x 10 cm
Medium: Acrylic paint
Object number: UAC 711
DescriptionRalph Hunter-Menzies studied BA Fine Art at Chelsea College of Arts. He says:
'My practice is firmly rooted in the accumulation and exploration of time. My work was previously exploring time through the use of diaries and photography, but since August last year I have started focusing on routine and time through the medium of paint. I find paint is an appropriate medium due to its nature of deterioration, such as in Renaissance paintings. The making of my works take place over a period of thirty-days influenced by a Synodic month (roughly twenty-nine days). All my works focus on straight lines and the crosshatch pattern with different variations of brush strokes, which slowly, construct build-ups of paint. My works consist of a single colour. The emphasis in these works is strongly based on process, routine and time. The final aesthetic exists as a separate entity but one that is as significant. I’m also exploring the presentation of these pieces, questioning the line between sculpture and painting. I have explored displaying these pieces in frames, on plinths and on various supporting structures attached to the wall. The tally marks I make with these pieces exist as separate works and are often thought of as evidence of their production. Through these experimentations I have managed to distil the presentation and relationship between them, thus allowing them to speak for themselves in a more traditional manor.'
'My practice is firmly rooted in the accumulation and exploration of time. My work was previously exploring time through the use of diaries and photography, but since August last year I have started focusing on routine and time through the medium of paint. I find paint is an appropriate medium due to its nature of deterioration, such as in Renaissance paintings. The making of my works take place over a period of thirty-days influenced by a Synodic month (roughly twenty-nine days). All my works focus on straight lines and the crosshatch pattern with different variations of brush strokes, which slowly, construct build-ups of paint. My works consist of a single colour. The emphasis in these works is strongly based on process, routine and time. The final aesthetic exists as a separate entity but one that is as significant. I’m also exploring the presentation of these pieces, questioning the line between sculpture and painting. I have explored displaying these pieces in frames, on plinths and on various supporting structures attached to the wall. The tally marks I make with these pieces exist as separate works and are often thought of as evidence of their production. Through these experimentations I have managed to distil the presentation and relationship between them, thus allowing them to speak for themselves in a more traditional manor.'