The paintings in this series have something to do with the content being approached as both an abstract flattened out pattern and as a surface which occupies space and has a sense of depth.. the literal layering and build up of the surface.. illusionist qualities of pattern alongside the hypnotic aesthetics of mark making. As well as being somewhat inspired, years ago, in learning about some work that Rachel Whiteread made during a summer residency, a series of parquet floor drawings made using correction fluid. There’s always been something about this process which I thought gratifying, meditative possibly and having been on my mind ever since.
The title is borrowed from a proposal by performance artist Jochen Dehn. It was an still image taken from one of Dehn’s performances which first caught my attention, in The Grandmother’s Paradox, 2009 Dehn interacts horizontally with a room which has been tipped onto one side. I went on to find Dehn’s proposal, which describes the School for Invisibility as “a selection of studies with variable dimensions..” seeking “to discover the possibilities of becoming less concrete”. The proposal itself is a collection of performances and exercises design to expand on this concept and for me these poetic antics in part resonate with my own take on interrupting perspective and attempts to visually reinvent the way space might be represented on the canvas.