We are the departure people

We transgress, resist, resolve and move on ! We are the departure people - we are always on walk -about ! We re- connect the 300 years of the modernist Painting movement (now in its 3rd stage) and we transgress in and through the flow of the circuit that we actively seek to be the very reconnection that gravitates towards the pulse of the eye to hand to canvas of paint movement, running through the brush that we once again unite with the linen or cotton of the surface of the canvas. . ,.Don't fragment, induce a head-on collision, when 2 Paintings clash, (or various 'Painting movements') crashing on impact (or just before) that changes the original and immediate outcome of the visual image.. This uneven path welcomes the paradoxes of our day, the exfiltration/infiltration, the inherit/disinherit for example,etc that courses through our unique diversity throughout our idiosyncratic practice.' Art should be left to ink and Paint' , but that is too deterministic and blinkered ! But it would serve the rest of the Art world right for their hitherto attack on our practice and our medium !! But vengeance has never been Art at its best ...should it T ATT!?! Perhaps ink and paint should do the talking for our practice, and let the rest of the Art world not get in our way ! Paint now, dissect later, but never apologise ! Art is ancient but Painting on canvas is relatively youthful and very contemporary ! It is our badge of honour that whilst Russia was welcomed into the 'brotherhood of the Capitalist West' at the end of the Cold War that the Painting medium was eschewed for being passe`, when the truth is that Painting became too intense and difficult rather than being at a formalistic cul de sac ?! Too hot for you to handle ?

Was there a real reason for contemporary Painting being rejected ? Perhaps, when the Russian Federation rebuilt Russia by largely western investments, Capitalist Russian Oligarchs prefered to buy pre 1945 Paintings, but needed contemporary Painting to be 'relaxed' and only episodic in the major Fine Art Auction Houses, perhaps to inflate the value of their purchases! Or, In order to focus on historical Art that the West and East could agree on rather than tackle head-on controversy of 'the next stage of Painting.' ! This is why Duschamps and his venture into conceptual Art(1918) was revisited in the post Cold War period ! Indeed, conceptual Art has flourished in all parts of the once Marxist-Leninist world as the lingua franca of Cultural globalisation ! Indeed, it doesn't confront as critically as the Modernist world did in the 1930's, and even Iran holds female conceptual Artists work because they often do not stray into the political sphere etc In fact female Artists may be imprisoned for showing a nipple of a woman on a photo or Painting etc, but conceptual Artists may 'be encouraged ' to wear head and body covered black religious traditional dress for an Islamic woman, but can be an advert for the diversity of Conceptual and thus global Art, that definitely is open to 'redrawing the gender assumptions of women in Iran '. Welcome to the medium of Painting being seen as too controversial, but Conceptual Art being 'UNIVERSAL' ???? In fact when Ai Wei Wei began to make more controversial 'Conceptual Art', 2 systems Marxist/Capitalist China threw him in jail !! His reality tells us everything we need to know that conceptual Art is unique but perhaps intentionally controversial but without any political agenda !

Transformation by 'art concussion' becomes transgression in the Painting world. It disorientates and improvises and enjoys a 'free verse' but heterogeneous nature. There is no fixed outcome but just a degree of departure, whilst requiring the viewer and not just the painter to envisage how the process of the Painting could have deviated in all sorts of ways , both exploring the past, present and the possible future !?! But do we reverse engineer a Painting rather than deconstruct it ? That is the Painter 'being in the present' too ! Progression and regression vie for control over a Painting , but selecting and combining isn't just at the stage when 2 or more paintings are finished and can be juxtaposed but can be combined at every stage of any Paintings' evolution. The fact that there is tension to see if the juxtaposition repels or attracts each other is significant in a wider process too ! But if 2 Paintings are printed on canvas for a new image to be started, then there is always a possibility that an original image may be combined in an endless but always instructive way, as a 'reproductive but constantly original image, based upon constant and new multiplicity of combinations , such as one combo next to another different combo but sharing a different variant of an original image !

But there is a remarkable friction and refraction that announces a connection with the 21st century of Surrealism. This is clearly a matter of spinning plates of different sizes that will stop spinning at different times, This is connectable but potentially a collision at variations, when all plates don't follow a pattern ! This practice revives and yet displaces unpredictably , and represents the unknown cultural meteorite of the medium of Painting. ! This traversing and destabilizing is a valuable redemptive quality to reject an over-micromanagement of this world today, and involves woke and its opposite cliche. It restores and resists by backlash and break-out , but it is not a symmetrical interface but an escalation against sabotage by a break in the connection of the circuit and loss of current that conjoins with 19th and 20th century versions of Modernist Painting . Ironically, many could devalue Painting because they don't paint - well that is not a problem that the army of new practitioners in this country who are independent of Art Colleges and mostly self-taught ! But many now recognise that Painting is feet on the ground hand-eye brush coordination is the antidote to an increasingly digital AI world ! It is clear that people want to take part in Art individually as an advert to human resourcefulness and not AI imperialism. Space on the canvas meets space between our nearest planetary world where life exists , or where multiple universes can coexist - well imagine that (on a canvas) !! Where more than one medium of our life can learn from another !! ?? Are you listening, TATT?