Nigel Grima
Großbritannien
Kunstart: Fotografie
Stil: Moderne
Vita / Lebenslauf:
Artist’s Statement
Nigel Grima
Biography;
In the 90’s, I began experimenting with art, firstly as a painter, and then discovered photography! By 2000 I began exhibiting and selling. At 2004, I realised that organic photography was limiting my aims, so I experimented with Photoshop and digital photography, and entirely dedicated myself to it for 4 years.
“Abstract Art “- a contemporary definition;
I make abstract images, through the manipulation of digital photography. Current evidence seems to suggest that abstract art is ambiguous and expressive. I believe the former must always be true but the latter is open to conjecture. This is because ambiguity cannot be expressive (expression is defined at source, ambiguity is not).
However it is unlikely one cannot be entirely without expression. As a result, I believe my work shows signs of repression, a form of expression. But whereas expression is exposed, repression is hidden and therefore aligns itself to ambiguity.
I have explored this theme through 6 series of work;
1 Repressive Paintings (Hiding and being Passive)
2 Asymmetric Kaleidoscopes (Exploring predictability)
3 Repressive Compositions (Passive Compositions)
4 Fractal Kaleidoscopes (Hidden and Passive Compositions)
5 Repressed Forms (Allowing the medium itself to hide it’s former identity)
6 Distractions (Mixing the former series of styles for a repressive ideal)
Techniques employed;
Some of the techniques I use comprise of-
. Hiding - This is the utilisation of Picasso’s simplified formal language. I confuse scale by making forms either textured or smaller, receding in scale. Through blurring; the surface ( plastic in nature ), the space and the designated edge of a form appear less distinct. I photograph ’relief’ collages through a narrow depth of field, using the out of focus parts to hide the technique. The appearance is tangible, yet indistinct.
. Escapism - I use the camera as a tool within photography because it enables me to capture how I physically see. I also document effective subtle changes that I cannot achieve through painting. In effect, I believe a photograph appears to be more ‘convincing’ than a painting, because it’s a better distraction from reality.
. Medium - I vibrate a ‘kaleidoscope’ like collage so that it changes randomly according to itself. I also use set formulas to mechanise my editing and composition. As a result, the image’s content is less contrived, enabling me to be more emotionally detached from it’s process.
However, I don’t intend my art to be perceived without emotional content, the resulting piece can be very emotive. I would like the viewer to respond independently.
Impact;
My images tend to parallel with modernism and fractals, because I employ a lot of their techniques to construct repressive processes. My images also demonstrate how modernism and fractals parallel each other. Evidence suggests that 3 characteristics denote a fractal- form similarity, form similarity in scale and spatial similarity (relief). Modernism possessed remarkably similar techniques such as Monet’s ‘similar’ brushstroke dabs which flattened the painting like a pattern, Cezanne’s ‘passage’ technique let forms be in the same plane, Picasso’s harmonious simplified formal language enabled variations of the same form to be on the same plane and Pollock’s progression from the unconscious practice of automatism to chaotic drip painting allowed for consistent arrangements in composition and scale similarity.
‘What is it?’ This is often asked to me when an audience views my work. My reply is vague because I‘m unsure. I would consider my images to be abstract, but they may not be regarded as so. By striving to improve abstract art, I may have altered it. If so, it could be considered as, ‘Post Abstract’, ’Abstract Realism’, ’Abstract Graffiti’, ‘Fractal Expressionism’, ‘Progressive Modernism‘, ‘Contemporary Religious Painting‘, even ‘psychedelic‘?. Alternatively, I could be redefining what is considered as abstract. In doing so, my future work may be figurative, but also abstract.
Aktivitäten / Ausstellungen:
Nigel Grima
19 Hardbrook Court, Audley Road
Chippenham, Wiltshire
SN14 0QZ
Phone Number - 07882493492
E-mail Address - nigelgrima@live.co.uk
Profile
Born - Yeovil, Somerset, 1975
Occupation - Wiltshire Mind (Support Worker And Group Facilitator)
Solo Exhibitions
2002 - Corsham Festival, Corsham Library, Wiltshire
2001 - Beaten Track Café, Chippenham, Wiltshire
2000 - Citadel Gallery, Chippenham, Wiltshire
Group Exhibitions
2004 - The Causeway, Chippenham, Wiltshire
2003 - Hotbath Gallery, Bath
2001 - Citadel Gallery, Chippenham, Wiltshire
1999 - North Wilts Arts Forum, Chippenham Town Hall, Wiltshire
Collections
2008 - Sue And Malcolm Cousins, Syrah Arnold
2007 - Luke Smallwood
2005 - Christine Cooney
2004 - Syrah Arnold, Jay Springay
2000 - Nick And Duncan Sharp, Sue And Malcolm Cousins
Websites
Numasters - www.Numasters.com
Bridgeman Art Library -www.bridgeman.co.uk
Commissions
2000 - Citadel Gallery Promotion, Chippenham, Wiltshire
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Repressive forms 4
Fotografie
Fine-Art-Print
90 x 90 cm
2008
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Repressive Composition 3
Fotografie
Fine-Art-Print
38 x 82 cm
2006
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Fractal Kaleidoscope 8a
Fotografie
Fine-Art-Print
118 x 118 cm
2007
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