Androgyne, 2018. Oil on canvas, 38cm x 44cm.
Bergson’s suggestion that there would be no need for art if we could only see the world directly, prompted J. F. Martel to conclude, “What is revealed to us through art is a plane of reality that combines the observer, the act of observation and the object observed in one sensation, one event” (Martel, 2015). It is this potential for art to give us revelations about what is always there, to illuminate the extraordinary hidden within the everyday, to expose the strangeness behind the familiar, that to me continues to make paintings so relevant.
‘We live in an age in which the authority of the lens has become ubiquitous, in which the distinction between image and reality has become blurred’ (Barker, 2018). A time in which as Kracauer suggests, photograph has become an indexical substitute for memory and experience. In my current paintings, using the Merrion Centre, Leeds as a site of investigation, I seek to address this contested relationship and explore how, through weaving collective and individual memory with the materials and process of painting new and unexpected understandings of place might be revealed.
Barker.G.2018. Poiesis and the making of place: Recent paintings by Adam Stone. Press release, Studio One Gallery, London.
Bergson, H .2008. Laughter: An essay on the meaning of the comic
Martel, R. F. 2015. Reclaiming Art in the Age of Artifice Berkeley: Evolver Press
Current Teaching: MA Creative Practice & Course Leader Access to Higher Education, Leeds Arts University.