This creative work was originally published as:
Morris, R. (2015). Hover [Enamel on masonite]. Robin Gibson Gallery, Sydney, Australia.
The painting Hover in the exhibition Well Red, was formed by deconstructing pre-painted panels, into rectilinear modular units which were re-assembled to form the works’ final configuration. This methodology for constructing paintings involves discreet stages of production beginning with the painting of panels in enamels and oils prior to cutting them into smaller rectilinear components with a table saw and a guillotine. These rectilinear components are then assembled into configurations indebted to the new relationships and tensions amongst the works’ component parts. By utilising the compositional opportunities afforded by a horizontal grid, along with painterly variations inherent in the panels themselves, Hover generates an illusory configuration of various weight white lines on a red ground. As such, the white lines appear to ‘float’ on the surface of the work, and this is further reinforced by the subtle trace of under-painted white lines appearing below the surface of the work.
Morris, Richard Dr., "Hover" (2015). Arts Creative Works. 45.
Please refer to publisher version or contact the library.