Charlie Hammond
23 Oct - 11 Dec 2009
© Charlie Hammond
Portrait with Keys and Unfinished Highways (We Need to Smooth the Traffic Flows/Speeds to Maximise the Painting’s Potential), 2009
acrylic on linen
71 x 61 cm
Portrait with Keys and Unfinished Highways (We Need to Smooth the Traffic Flows/Speeds to Maximise the Painting’s Potential), 2009
acrylic on linen
71 x 61 cm
CHARLIE HAMMOND
"The New Improvement Scheme"
Dates: 23rd October–11th December 2009
Preview: 23rd October 2009, 7pm
Notes: Gallery Closed for Christmas Break 23rd December-4th January inclusive
For his second solo show at Sorcha Dallas Hammond presents a series of new paintings, mostly portraits, whose characters appear from the painted surface rather than existing in the painterly landscape. The results of an experimental studio practice where stains, spillages, over painting, cutting up and re-assembling the canvas create conditions in which a loss of control acts as both a physical base and conceptual starting point for the artwork itself.
A subdued pallet of cream, stains, grey buffs, raw linen and canvas are intended as a slightly stagnant surface on which the images unfold- worn out backdrops on which ceramic paint squirts can scatter logically and roads can be built.
The road motifs are represented as both physical highways falling out of (bypassing) the flat canvas as well as more painterly marks. This road building is on one hand a clumsy metaphor of human progress and on the other an effective tool for the image’s construction, an interest in political cartoons, Hammond attempts to liberate the subject by rejecting temporal nature of its context, however the structures and grammar of this veiled satire remains.
"The New Improvement Scheme"
Dates: 23rd October–11th December 2009
Preview: 23rd October 2009, 7pm
Notes: Gallery Closed for Christmas Break 23rd December-4th January inclusive
For his second solo show at Sorcha Dallas Hammond presents a series of new paintings, mostly portraits, whose characters appear from the painted surface rather than existing in the painterly landscape. The results of an experimental studio practice where stains, spillages, over painting, cutting up and re-assembling the canvas create conditions in which a loss of control acts as both a physical base and conceptual starting point for the artwork itself.
A subdued pallet of cream, stains, grey buffs, raw linen and canvas are intended as a slightly stagnant surface on which the images unfold- worn out backdrops on which ceramic paint squirts can scatter logically and roads can be built.
The road motifs are represented as both physical highways falling out of (bypassing) the flat canvas as well as more painterly marks. This road building is on one hand a clumsy metaphor of human progress and on the other an effective tool for the image’s construction, an interest in political cartoons, Hammond attempts to liberate the subject by rejecting temporal nature of its context, however the structures and grammar of this veiled satire remains.