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CBS1 Zinc White. OIL/OIL PASTEL ON MASONITE PANELS. 84 x 124 x 14 cm. © NOBBY SEYMOUR 2007

CBS2 Nickel Yellow. OIL/OIL PASTEL ON MASONITE PANELS. 84 x 124 x 14 cm. © NOBBY SEYMOUR 2007

CBS3 Cerulean. OIL/OIL PASTEL ON MASONITE PANELS. 84 x 124 x 14 cm. © NOBBY SEYMOUR 2007

CBS4 Aureolin. OIL ON MASONITE PANELS. 84 x 124 x 14 cm. © NOBBY SEYMOUR 2007

CBS5 Stil de Grain. OIL/OIL PASTEL ON MASONITE PANELS. 84 x 124 x 14 cm. © NOBBY SEYMOUR 2007

CBS6 Cobalt Blue. OIL/OIL PASTEL ON MASONITE PANELS. 84 x 124 x 14 cm. © NOBBY SEYMOUR 2007

CBS7 Spring Green. OIL/OIL PASTEL ON MASONITE PANELS. 84 x 124 x 14 cm © NOBBY SEYMOUR 2007

CBS8 Venetian Red. GOUACHE ON CARD PANELS. 43 x 63 x 7 cm. © NOBBY SEYMOUR 2007

CBS9 Celadon Green. GOUACHE ON CARD PANELS. 43 x 63 x 7 cm. © NOBBY SEYMOUR 2007

CBS10 Titanium White. ENCAUSTIC ON CLEAR ACRYLIC PANELS. 84 x 84 x 7.5 cm. © NOBBY SEYMOUR 2007

45downstairs, Melbourne - March/April 2007

While painting A Matter of Fabrication for my last exhibition, I matched the shadow tones cast by the separated panels with equivalent tones painted on the actual panels. I resolved to investigate the potential of this at a later date. 'Cast by Shadows', my 2007 exhibition, was the result.

 

Eventually I discovered that in order to achieve a general shadow tone in the background it was necessary to install a light baffle between the panels. As this separated the panels considerably, any chance of reading the overall work pictorially wasa greatly reduced and I subsequently settled for an abstracted approach.

 

It was a great pleasure to discover the rich chromatic hues of colours lying in shadow. It soon became apparent that to reproduce these hues on the face of the panels was best attained through allusion rather than illusion.

 

The process proved to be far more difficult than might appear; after many dead-ends and disappointments the first work CBS#1 Zinc White began to take form like a floating spatial fabric in early August, 2006.

 

I find these fabrics analogous to the world arround us. We perceive surfaces as the solid stuff of matter, but in the 'solid' floor on which you stand there are the (invisible) strong nuclear forces resisting the much weaker force of gravity (also invisible) of your body mass.

 

Similarly, the surfaces we read in these assemblages are an ambiguous reality.

Accommodating Change
Accommodating Change

Entrenched
Entrenched

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

Accommodating Change
Accommodating Change

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