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Upgrade, a repro or a challenge to the stasis of the Painting medium?

Stephen Hornsby-Smith

The medium of Painting today could be transformed by a formal odd-bed fellow - a Print tattooed onto a canvas resurrected from the past but only providing the outline of the future. No new high tech gadgetry or completely new to the Art market. So why?

I was involved in taking part in an exhibition in Teddington, London back in November, where some sculptural work was sold 3 times over.That's right, the general public believe that sculpture is non reproduceable, but in order to achieve the final parts of a long process of a resin sculpture, the artist has to make a mold. It is from this mold that many of the same reproductions are made, that still have an exact high standard as the unblemished original. Painting is always a bit of a risk to devote your self to, but imagine that you could reproduce your own work yet existentially choose what it will look like when or if one has treated it. Remakes, re-inventions aren't my bag, but a cadaver from the past can be taken to the morgue and diagnosed, or it can be a given a new lease of life by burial and then releasing its spirit. To me this is an exciting waft of my travels of the past and a fusion of where it could take me in the future. It provides a departure from instant but tiresome preoccupations of the present as well as being a shock treatment to galvanize a 53 year old from being too contented and self-indulgent, if actually I properly throw myself into it.

This is my new wave from sculptural techniques to re-contextualizing a past memory. But this is how we think right? We all concede to sensory in-put that is actually a jig-saw of reasonably broad dreams or ideas. This is the norm of humanity. It is also a moment to shed nostalgia for the collision of the past with the future. This conventional vetting of our thoughts reveals perhaps far more of our unconscious mind and our memories that are coordinated by it than we often prefer not to acknowledge, revealing that whilst our minds work on multiple levels we opt for the most comfortable or the most problematic.Multi- Media coexistence however isn't my bag either but that begs the question: If my mind works on all sensory reflexes, why do I need to fix myself to the singularity of the Painting medium? Perhaps I can't escape from trashing my identity and perhaps I like the destructive over-discipline of restrictive metaphorical vision. Then, what can I do about it? Or, do I want to change? Or what am I doing wrong that i like to do it anyway? I believe that my job as a Painter is to tease these issues out and to solve them. I admit that I do such a thing because I'm more self-interested than public- spirited, but I also concede that I can't solve the problems of humanity I can only open them up to scrutiny with my wanderings as a Painter.

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