Exploring Abstraction
Tests, experiments in what is abstraction takes me to the edge of what is real and what is not. I have this compulsion to reanimate the abstract visually, be it in situ or in a location by placing objects and forms in such a way that they imply an action or reaction. A line takes on a form like lightning, or a flicker of fire. A set of lines form a liquid fall or cloud of smoke. This changes the intent of what is a visual form into something more animated.
What am I really looking at? I continue the line of exploring abstract forms from photo based media, digital and analogue works (paintings, drawings). As with other works from this period, from 2021, these compositions use lines to create drama and scenes conflict in the picture plane. For me, every line is a character that acts for good or bad in a situation. Abstraction here is not about form, colour or balance to an aesthetic view primarily. It is just a means or a backdrop to animated forms that carry an implied function. In the work Field test – the melt, form gives way to the utility of lines electrifying the scene to cause a meltdown of colour and the subject matter – a disastrous occurrence.
In This is THAT day (above), is a continuation of the theme where THE event has actually happened. The beginning of AN end. My work looks at different aspects of creation, destruction, aftermath and can portray different moments in time. Before, during and after an event. I tend to experiment with abstract aspects like I’m conducting lab and field tests. Or at times with figurative head like forms, and then can pull out wide to show the overview or scenario.
Works prior to these, the physicals from 1990 – 2010, have always had an elemental material base, be it lead, coal, wax, copper wire, batteries or metal leaf, I have always seen materials as representative metaphors or conductors of commerce, power and energy – abstractly. These elements, if hooked to proper functional sources, could cause a reaction – an animation or reanimation of the art object, the site context or location.
As in Crown Land, 1995 (below) the form is painted in acylic paint, measuring 30 metres x 40metres, but its symbolic function it that of reign. power, and authority. Land around Australia’s Parliament House is known as land that belongs to the Crown. Hence positioning this painted form with 207 First Nations’ place names on plaques distributed through the painted site is intended to activate questions and responses around ownership and history.
Lines are characters
What’s your process like?
I experiment with works on paper, photographic and digital works. I love to push the extremes of abstract space, colour, design, illusion and environmental concepts.
What inspires you?
I like to think of each line figuratively as a persona, battling over space, territories with others and the environment. I want to push what these marks and strokes can be and mean. To create an imaginary space where the mind can wander.
What are your long term goals as a creator?
I love creating and developing new and original works. Digital works give me the chance to create works immediately to share online but my aim is to do both digital and physical works for exhibition, and at scale.
See links to digital collections here
constantine nicholas 
