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It's Mostly in the Frame. Oil on Canvas. 122cm x 122cm. © Nobby Seymour 1999

Cloistered View. Oil on Canvas. 89cm x 122cm. © Nobby Seymour 1999

Global View. Oil on Canvas. 254cm x 255cm - 3 panels. © Nobby Seymour 1999

Scaffold Frame. Oil on Canvas. 165cm x 105cm. © Nobby Seymour 1999

Proscenium Frame. Oil on Canvas. 122cm x 122cm. © Nobby Seymour 1999

Cushioned Frame. Oil on Canvas. 61cm x 61cm. © Nobby Seymour 2000

Distant Frame. Oil/Oil Pastel on Linen. 5 Panels - each 40cm x 170cm. © Nobby Seymour 2004

Through a Lens Darkly. Oil on Canvas. 122cm x 122cm. © Nobby Seymour 1999

Time Frame. Oil on Canvas. 122cm x 122cm. © Nobby Seymour 1999

Textured Frame. Oil on Canvas. 122cm x 122cm. © Nobby Seymour 2000

Dissolving Frame. Oil on Canvas. 122cm x 122cm. © Nobby Seymour 2000

William Mora Galleries, Melbourne - June 2000

It would seem, in retrospect, that from the age of seven when my grandmother gave me a book on the works of Paul Cezanne, I became intrigued by the tyranny of the picture plane and how in the accepted orthodoxy of Modernism it was a travesty to recede or proceed from this plane. (The picture plane is equivalent to the surface of the picture, be it paper, canvas whatever.)
 
Many of my murals were Trompe l'oeil, commissioned by heretical architects and designers. These were spatial illusions in which the frame acted as a portal between the real three dimensional world and the painted illusion. Having once been an architect proved to be very useful here. The painting Its mostly in the Frame demonstrates illusion succinctly.
 
In this exhibition I examine how the frame acts as a portal, a focussing device and most of all how it emphasises the picture plane.

AND NOW A FEW WORDS

FROM THE FRAME...

Accommodating Change
Accommodating Change

Entrenched
Entrenched

Wraps it up, pretty well
Wraps it up, pretty well

Accommodating Change
Accommodating Change

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