Ian Homerston’s paintings focus on the peripheries and material qualities of the medium, the limits and edges of the canvas. Previously Homerston has combined paint with detergents, solvents and adhesives in order to simultaneously apply and remove surface information during the making process. The chemical nature of these materials lent something of a photographic quality to the paintings, both in terms of the process of their construction and in their surface appearance.
In recent paintings this suggestion of a photographic quality has become more literal through Homerston’s use of a light sensitive emulsion (the type commonly used in screen-printing) as a painting medium. The emulsion is exposed to light and as a result becomes fixed on the canvas, with any areas that remain masked or ‘undeveloped’ being subsequently removable. The nature of the medium allows for information to be transferred, repeated, and reversed across the surfaces of the paintings.
The works exhibited here focus on the questions raised when this approach is used to examine the abstract mark or gesture. The photographic transference of painted information from one surface to another results in the works functioning both as reproductions of painted surfaces, as well as singular constructions in their own right. The reversal of information that occurs during the making process results in the absence of the original abstract gesture; what was previously rendered as a a painted mark is re-presented as a negative space. Suggestions of a liminality remain. The disturbed surfaces evoke a visual noise, awkwardly undermining attempts to decipher their final appearance.
Ian Homerston, b.1984, Recent exhibitions include Young London, V22 Workspace, London (2011), What If It’s All True? What Then? (Part II), Mummery + Schnelle, London (2011), Needed By Things, Furnished Space, London (2011), New Contemporaries 2010, A Foundation, Liverpool/ ICA, London (2010), The Drifting Canvas, Cole, London (2010)