Disjunctive Relations: Painting, Sound and Space 2013
Work in middle: Disjunctive Relations (001), 2013. 2-channel sound composition, 12’ 02” duration. SolidDrive SD1-sm induction drivers, 2-channel DVD, DVD player, amplifier, synthetic polymer paint on primed structural beech plywood, screws. Unique work.
Work on right: Conjunctive Relations, Audible (002), 2013. 1-channel sound composition, 14’ 33” duration. Panphonic SoundShower RS-232 directional loudspeaker with integrated amplifier, ipod, bracket.
Conjunctive Relations, Audible (002), 2013. 1-channel sound composition, 14’ 33” duration. Panphonic SoundShower RS-232 directional loudspeaker with integrated amplifier, ipod, bracket. Edition of 3.
Disjunctive Relations: Painting, Sound and Space, 2013
Work on left: Conjunctive Relations (001), 2013. Oil on linen, 310 x 410 mm.
Work in middle: Conjunctive Relations, Audible, (001), 2013. 2-channel sound composition, 9' 11" duration. Brown Innovations SoundBeam SB30, MiniAmp, CD player, CD. Edition of 3.
Work on right: Conjunctive Relations (002-011), 2013. Oil on linen, 1980 x 410mm.
Disjunctive Relations: Painting, Sound and Space
Oil paintings, sound compostitions and painting/sound hybrid works form to create an exhibition featuring three new series of works. While each series is titled ‘Conjunctive Relations’, when experienced over the space and time of the installation they start to unravel into a series of ‘Disjunctive Relations’.
Disjunctive Relations: Painting, Sound and Space plays with the tension and ambiguity of conjunctive and disjunctive relationships between painting and sound. It suggests that there is a place of pleasure and constructive meaning in the movement between conjunction and disjunction. As in the many layers of un/relationships and spatial/temporal qualities between painting and sound. The works revel in the reassuring joy of understanding that their appearance brings them as well as the uncomfortableness which results from juxtaposition, tension and incongruity.
This new painting series of tall narrow “Conjunctive Relations” (2013) builds on the painting methods used for the series “Sequence and Simultaneity, Front and Side”, 2011 (exhibited in 2011 at Place Gallery). Using other paintings within the Conjunctive Relations painting series as a stencil edge, each painting is both a work itself and also a tool. Cross-noise of colours and diffusion of edges are created by the wet in wet painting process. My dedication to exploring colour study is evident in the improvised way I generate unique stripe combinations that range between slow harmonic states to speedy tensioned juxtapositions.
The new Conjunctive Relations sound series compositions build upon my signature hisses, hums and tones, but the spatial interactions are increasingly pushed towards the two extremes of sound diffusion: a tightly focused directionality versus an expansive omni-directionality. The interaction between flat fields and focused beams of sound creates a complex spatial matrix that is activated by the movement of people experiencing the space. These expansive sound compositions are combined with monochrome paintings to form hybrid painting/sound objects and merge my recent wall painting works (such as at Sound Full at Dunedin Public Art Gallery in 2012) with some less common induction drive loudspeakers that vibrate the painted panels to become proxy loudspeakers. The directional sound compositions use highly directional specialist loudspeakers to send focused beams of sound through the gallery space at Place Gallery.
Michael Graeve, 2013
Place Gallery, Richmond. 3 July to 27 July, 2013.
Photo: John Brash