A complex layering of intricate micropaleontological thin sections layered with images of cherry blossom and Victor Pasmore’s 1970’s South Bank large scale pavement piece.
This painting departs from the major microscopic fossil thematic and focusses more on contemporary time, on the present, on creating, collating and curating a series of images that encapsulate Ford’s own life during a specific period (October 2018) as if it is itself a thin section.
The painting becomes a thin section - a slice through Ford’s consciousness, mind, situation and realities. Different co-existing worlds are merged and compressed together in a layer of time. One can see previous drawings appearing as if they were fossils, images of fossils drawn by his children, previous exhibition assemblage pieces depicting disintegration and the last photograph of his family together.
He likens this piece to Tracy Emin’s bed installation thematically – raw entropy, chaos and they unedited life.
A heavily layered painting (with detritus from painting process itself acting like self-reinforcing sedimentation compression) depicting overplayed images of aesthetically entrancing photographs of oil spills, the sea burning, oil rigs alight and the spectral images of clean up crews in white protective gear like ghosts echoing the repeated Andreas Gursky prescientific photograph of the almost pristine Artic.
In Nod to Victor’ Ford takes two of his 4ft by 5ft paintings and bolts them together after they are painted (face to face) so that the canvasses themselves become strata and the ‘fossil images’ and ‘images as fossils’ are literally encapsulated. All images are embedded in the strata of the canvasses. They cannot be seen or reached unless there is some sort of mining, cutting away or erosive destruction of the frames or canvasses themselves.
Ford has proceeded then to do just that cutting out Oolite canvas shapes to randomly reveal what may be beneath and between the canvasses. He then pasted some of the fossil shapes back onto the outside of the canvasses to create new layering.
The Oolite shapes echo Victor Pasmore’s work.
A visual language developed from thin section Oolite Micropaleontology.
4ft by 5ft plastics layered painting on frame.
The second panel of a triptych excavating the story of Sorhab & Rustum through Mathew Arnold’s poem inscribed by hand as one of the layers of this Fossilarium paining. The story tells of the great father and son Persian 11th century warriors.
Panels 1 & 2 of Sorhab & Rustum Tryptch.
Panels 1 & 2 of Sohrab & Rustum Tryptch as a sculptural installation piece that reads almost like a textual work in it’s placement.
Painting photographically transposed and printed on transparent AO plastics to read like a micropaleontological thin- section in its materiality. This one is of amplified Oolites.
The making of panel 1 of Tryptch.
The making of panel 1 of Tryptch with miniature images (amplified) of the Persian warriors overplayed by Mathew Arnold’s poem hand inscribed.
The making of panel 1 of Tryptch with miniature images (amplified) of the Persian warriors overplayed by Mathew Arnold’s poem hand inscribed.
Panel 1 and 2 of Sohrab & Rustum Tryptch.
Experimental installation in Offside Space at UCA MA exploring the philosophy, nature and state of painting including role of the Frame & the Void.
Detail from the beginning of an installation piece for UCA MA Final Show which both integrates and explores several aspects of artists painting practice including:
- the post capitalist world
- nature of time
- intersection of art & sceience
- abstract expressionism (visual language resonance with micropaleontological this section images)
- Disintegration (creation and entropy)
Detail from the beginning of an installation piece for UCA MA Final Show which both integrates and explores several aspects of artists painting practice including:
- the post capitalist world
- nature of time
- intersection of art & sceience
- abstract expressionism (visual language resonance with micropaleontological this section images)
- Disintegration (creation and entropy)
Detail from the beginning of an installation piece for UCA MA Final Show which both integrates and explores several aspects of artists painting practice including:
- the post capitalist world
- nature of time
- intersection of art & sceience
- abstract expressionism (visual language resonance with micropaleontological this section images)
- Disintegration (creation and entropy)
Section of an installation piece for UCA MA Final Show which both integrates and explores several aspects of artists painting practice including:
- the post capitalist world
- nature of time
- intersection of art & sceience
- abstract expressionism (visual language resonance with micropaleontological this section images)
- Disintegration (creation and entropy)
Section of an installation piece for UCA MA Final Show which both integrates and explores several aspects of artists painting practice including:
- the post capitalist world
- nature of time
- intersection of art & sceience
- abstract expressionism (visual language resonance with micropaleontological this section images)
- Disintegration (creation and entropy)
Section of an installation piece for UCA MA Final Show which both integrates and explores several aspects of artists painting practice including:
- the post capitalist world
- nature of time
- intersection of art & sceience
- abstract expressionism (visual language resonance with micropaleontological this section images)
- Disintegration (creation and entropy)
A Fossilarium painting layered with micropaleontogist seismic graphs, maps and remnants of the Oil (Bio-energy) & Share Price Pages of the Financial Times.
