(something reused or altered but still bearing visible traces of its earlier form)
This collaborative project stages an encounter between two abstract practices: photographic abstraction and the fluid materiality of paint and watercolour. While photography has historically been aligned with precision, indexicality, and the fixing of a moment in time, watercolour resists permanence through its instability, translucence and propensity for dissolution.
The works that emerge from this dialogue disrupt medium-specific boundaries, opening a liminal space where image and gesture co-exist. The photographic contributors an architecture of form and light, while the painterly interventions destabilise that architecture, rearticulating it through bleed, stain and chromatic dispersion. The resulting surfaces interrogate not only the aesthetics of abstraction but also the ontological status of the image itself, as something both fixed and in flux. By placing these mediums in dialogue, the collaboration situates itself within broader conversations in contemporary art around hybridity, process, and the deconstruction of disciplinary hierarchies. Viewers are invited to engage with works that are neither purely photographic nor purely painterly but rather inhabit the interstice between.
×PALIMPSEST
(something reused or altered but still bearing visible traces of its earlier form)
This collaborative project stages an encounter between two abstract practices: photographic abstraction and the fluid materiality of paint and watercolour. While photography has historically been aligned with precision, indexicality, and the fixing of a moment in time, watercolour resists permanence through its instability, translucence and propensity for dissolution.
The works that emerge from this dialogue disrupt medium-specific boundaries, opening a liminal space where image and gesture co-exist. The photographic contributors an architecture of form and light, while the painterly interventions destabilise that architecture, rearticulating it through bleed, stain and chromatic dispersion. The resulting surfaces interrogate not only the aesthetics of abstraction but also the ontological status of the image itself, as something both fixed and in flux. By placing these mediums in dialogue, the collaboration situates itself within broader conversations in contemporary art around hybridity, process, and the deconstruction of disciplinary hierarchies. Viewers are invited to engage with works that are neither purely photographic nor purely painterly but rather inhabit the interstice between.
