Interest/Influences on Steven Harvey
1. How do his/her interest effect their art making practice?
To walk alone in the desert allows me to consider what instinctively emerges in the silence. Preconceived ideals are challenged and the arrogant desire to label all things becomes superfluous. It is here that my dialogue with abstract imagery is heightened and I am left to question, how does one paint this experience of nature?
Because painting, to me, is an adventurous and intuitive practice, using paint as an illusory device to form recognisable imagery seems to be a contradiction, which serves only to distract my sense of process. 2. Outline their influences, art making practices and use of materials. How do these changes or influences his/her conceptual practice?
Rigorously I investigate the sculptural qualities of oil paint. Pigment is sanded and ground into the bedrock of accumulated surfaces where reservoirs of colour shift and evolve. The composition reveals itself when a persistent form claims the final space.
With the double painting constructions, back-to-back paintings fold into one condensing my experience of open space into a freestanding entity, where colour and form reposition with each viewpoint. A visual play can be entered into in much the same way we take pleasure in absorbing an immense landscape that encompasses our peripheral vision. It is here that I ask the viewer to imagine or determine the boundaries of form. 3. Highlight three quotes that you think would help you when supporting an argument/idea/theme about this artist practice. * I savor solitude, especially when I find myself enveloped by the great, vast landscape of this country. * I used to make my own stretchers because i loved the feel of creating the object. I’ve found it slows my whole process down too much, so now I have them made. I like to work quickly and spontaneously and always have to have another canvas * A larger work is where the answer is, because for me the gesture is
To walk alone in the desert allows me to consider what instinctively emerges in the silence. Preconceived ideals are challenged and the arrogant desire to label all things becomes superfluous. It is here that my dialogue with abstract imagery is heightened and I am left to question, how does one paint this experience of nature?
Because painting, to me, is an adventurous and intuitive practice, using paint as an illusory device to form recognisable imagery seems to be a contradiction, which serves only to distract my sense of process. 2. Outline their influences, art making practices and use of materials. How do these changes or influences his/her conceptual practice?
Rigorously I investigate the sculptural qualities of oil paint. Pigment is sanded and ground into the bedrock of accumulated surfaces where reservoirs of colour shift and evolve. The composition reveals itself when a persistent form claims the final space.
With the double painting constructions, back-to-back paintings fold into one condensing my experience of open space into a freestanding entity, where colour and form reposition with each viewpoint. A visual play can be entered into in much the same way we take pleasure in absorbing an immense landscape that encompasses our peripheral vision. It is here that I ask the viewer to imagine or determine the boundaries of form. 3. Highlight three quotes that you think would help you when supporting an argument/idea/theme about this artist practice. * I savor solitude, especially when I find myself enveloped by the great, vast landscape of this country. * I used to make my own stretchers because i loved the feel of creating the object. I’ve found it slows my whole process down too much, so now I have them made. I like to work quickly and spontaneously and always have to have another canvas * A larger work is where the answer is, because for me the gesture is