This creative work was originally published as:
Morris, R. (1997). Crisp [Mixed media on board]. The Beatty Gallery, Sydney, Australia.
The notion of employing a methodology for the assemblage of paintings has traditionally been utilized with modular exactitude as seen in the works of such artists as Imants Tillers who amasses identically sized canvas boards to configure pre-planned, much larger paintings. By extension, Rosalie Gascoigne has employed a similar methodology for her works which amass small fragments deconstructed from real world artifacts such as road signs, into a new ‘field’ of painterly configuration. However, in the true sense of the word, Gascoigne’s work is more in the order of assemblage than painting. Overlooked in these two approaches to configuration, is the idea that a painting can be formed by intuitively arranging pre-painted rectilinear, (though not identically shaped/sized) fragments, as the basis of a newly configured painterly matrix, which included an overlay of textual treatments.
Morris, Richard Dr., "Crisp" (1997). Arts Creative Works. 18.