• EXHIBITIONS

    2018 - SPIROVSKI

    Incognito


    Exhibition dates: 31 JULY - 12 AUG 2018
    Opening: Tuesday 31st July, 6 - 8pm

    Incognito originates from the Italian, literally meaning ‘unknown'. For portraitists, the human face and the human experience that it belies remains unknown and mysterious, which is why we continue to be drawn to it, to decode the familiar and excavate the elusive.
     
    Within my artistic practice, an immediate connection to the work of Francis Bacon can be drawn - it is in effect a dialogue between painters from two very different worlds, not only in a temporal sense, but in terms of gender, age and circumstance. As with Bacon, I work primarily from photographs, films and the imagination, with titles such as ‘The Engineer', ‘The Alchemist' or ‘The Prodigy' giving way to allusions and incidental meanings.
     
    The significance of colour in this series of works cannot be underplayed - from searing reds to muted blues, the hues often speak for themselves, given so much space to occupy behind and often through the figures, which are often transparent and minimalistic. As such, the predominance of foreground figures becomes contested by the negative space that suddenly doesn't seem so absent.
     
    Beneath the constant influx of sensory deluge of contemporary culture is a barrenness that is symptomatic of a deeper crisis of identity. By taking away from what we normally associate with human form, the viewer is left to fill in the gaps and in doing so, superimpose their own unconscious associations and biases. As such, this reductive process is a form of cleansing, a return to a simpler, more primordial mode.
    Incognito originates from the Italian, literally meaning ‘unknown'. For portraitists, the human face and the human experience that it belies remains unknown and mysterious, which is why we continue to be drawn to it, to decode the familiar and excavate the elusive.
     
    Within my artistic practice, an immediate connection to the work of Francis Bacon can be drawn - it is in effect a dialogue between painters from two very different worlds, not only in a temporal sense, but in terms of gender, age and circumstance. As with Bacon, I work primarily from photographs, films and the imagination, with titles such as ‘The Engineer', ‘The Alchemist' or ‘The Prodigy' giving way to allusions and incidental meanings.
     
    The significance of colour in this series of works cannot be underplayed - from searing reds to muted blues, the hues often speak for themselves, given so much space to occupy behind and often through the figures, which are often transparent and minimalistic. As such, the predominance of foreground figures becomes contested by the negative space that suddenly doesn't seem so absent.
     
    Beneath the constant influx of sensory deluge of contemporary culture is a barrenness that is symptomatic of a deeper crisis of identity. By taking away from what we normally associate with human form, the viewer is left to fill in the gaps and in doing so, superimpose their own unconscious associations and biases. As such, this reductive process is a form of cleansing, a return to a simpler, more primordial mode.