Greg Fuller

Artist and Printmaker

Picture, Powerstation 2 by Greg Fuller

Introduction

The work stems from a study of the landscape. I am influenced by the great variety of visual representation of the environment, as well as the many intellectual equivalents our contemporary society has developed, from maths to maps. This drives me to continually explore the ambiguity of scale, but the work is always based on personal experience. I develop my topographical drawings as a life line in creating the more abstracted works.

When I leave my studio to go and draw a particular view, I travel through many different environments, this journey feeds into the paintings. Many of the patterns observed and the marks used in the drawings form the basis of the paintings, within a variety of materials which form a more literal reference to the landscape and explores the area between painting and sculpture.

Somewhere within the process of making the work a dialogue occurs and the relationship changes from one of competition to one of collaboration between myself, the materials and the image. I aim to create works that act as a catalyst for the viewers own imagination and experiences. The work is a celebration of the quiet realities of life, realities who's beauty and subtlety are often hidden behind our familiarity with the ordinary. I live an ordinary life, in an ordinary place, it is only when I try to make work about them that I realise how extraordinary they are.

Paintings

In many ways our world appears simple, yet the simplicity disappears when we look below the surface, much of natures depth is inherent within the surface patterns.

By exploring the patterns in my environment I seek a greater understanding of its depth and reality. I work through a process of intuitively extracting relationships from my topographical location drawings. I form these simplified arrangements together in layers to derive compositions which allow me to explore surfaces more fully as an equivalent for the environment.

I aim to create an association with a place or type of place rather than to illustrate it. My location drawings and plaster painting differ greatly in form, but by following a process of movement from one to the other I hope to find a more truthful rendering of the subject whilst retaining that which is essential to it, not just to describe the view but the experience. This allows me a greater association with my paintings, as through them I am able to gain a deeper knowledge of my environment and insight into myself.

Films

The video films, whilst drawing on the same references as the paintings, use a time based medium to explore the manner in which images form and evolve. The developing images allude to geological erosion and unseen natural phenomenon.

Block Sculptures

My block sculptures are based on the Fibonacci sequence of numbers. His number sequence was devised in an attempt to solve a theoretical mathematical problem. Whilst he was unsuccessful in this aim, the wider significance of his number series is still being explored by modern science, from petals on a daisy, to the planetary orbits in our solar system. These numbers and the relationship between them are also connected to the Golden Section and the idea of perfect aesthetic harmonies.

By using the Fibonacci sequence as the basis for a modular system of casting, and a metaphor for the intellectualisation of nature, I am able to explore surfaces and textures free from the confines of picture making. Having assessed the individual qualities of each block, I compose a piece of work creating textural harmonies or conflicts. In many of these pieces, the qualities of the materials cast or contained in the casting, work as metaphors for the passage of time.