Red Drawing 1. 2015 Oil on linen (41 x 41cm)
Red Drawing 5, 2015 Oil on linen (41 x 41cm)
Edging 1, 2014. Charcoal on canvas (140 x 192cm)
Edging 3. Charcoal on linen (40 x 50cm)
Banksia – Dynamic 2, 2015. Unglazed Porcelain (52cm x 52cm x 32cmH)
Elizabeth Fern. 2009. Unglazed Porcelain (30cm x 30cm x 30cmH)
Teasel – Reflected Curves, 2015. Unglazed Porcelain (52cmx52cmx32cmH)
Teasel – Circular Motion, 2015. Unglazed Porcelain (52cm x 52cm x 32cmH)
The shortest distance between two points is not prescribed. The shortest distance between two points is the one you desire most to take.
Desire Path is a contemporary exploration of gestural trace, repetitive form and the space that exists between the two, impelled by the drive within to mark a personal path. These new works by Andrew Vass and Nuala O’Donovan present a glimpse into the landscape of the inner self – the repetitions, retracing, constructions and layerings, which form the structure of our thought process. Vass’s drawings plot the paths between vision and decision, creating an intricate matrix of trace, line, erasure and space. While O’Donovan’s complex sculptures develop form from the repetitive application of fractal scale. Both artists move between the space of their inner world and the space of the perceptual world, looking for the right path to take.
Andrew: “I’ve been developing a project in response to a grass bank seen through a friend’s studio. It’s allowed me to view the work as a trace through the space! The red drawings are ink/acrylic on linen and paper. It’s interesting how I’m only aware of drawing the space, one mark prompting another decision, and the palpability of the unmarked areas implying a context. Also, the weave of the linen suggesting small groups of marks. The observable subject…gets the whole process going (bringing in scale and change). The sense that I’m pinned to a particular space, and the drawing is finding my way through it. It is a triangular process, mark/surface/space.”
Nuala: “My work is based on natural forms and natural forms are a progression rather than a static form. In order for this to be the case though, the form has to be evolving, but the forms that I make become static. They have similar qualities to fossils partly because of the ceramic material and partly because once fired they become frozen as moments in time. The pieces have a stillness, like shells and fossils, even though they capture evidence of energy in the variation of the scale of the elements in the patterns. The evidence of energy is apparent in the making of the work, but it isn’t energy in itself. The negative space is very important, the work changes significantly between a positive and negative structure depending on the relationship of the light source to the piece. The patterns are created by the positive lines of the open structures, and alternatively, by the negative [space] of the surfaces visible between surfaces of the open structure.”
Andrew Vass: http://a-vass.co.uk/
Nuala O'Donovan: http://www.nualaodonovan.com/