Accommodating Change. 100 x 100 x 13.5cm; Drafting paper and various papers, acrylic sheet, card, Foamcore, graphite pigment and beeswax.
Entrenched. 100 x 100 x 10.5cm; Drafting paper, polymer paint, pigment, card, Foamcore and beeswax. © Nobby Seymour 2010
Audience. 60 x 38 x 10cm; Drafting and various papers, polymer paint, Foamcore and beeswax.
Facade. 60 x 38 x 10cm; Drafting and various papers, polymer paint, Foamcore and beeswax. © Nobby Seymour 2010
Guardian. 60 x 38 x10cm; Drafting and various papers, card and beeswax. © Nobby Seymour 2010
The Paraclete. 120 x 38 x 13cm; Drafting paper, card, Foamcore, thread, pigment and beeswax.
Transparency. 60 x 38 9.5cm; Drafting and various papers, bamboo, card, thread and beeswax. © Nobby Seymour 2011
Three Frames for Luchino. 125 x 38 x 11.5 cm. Drafting paper, card, pigment, thread and beeswax. © Nobby Seymour 2011
as it happens... 120 x 38 x 13cm; Drafting and various papers, polymer paint, Foamcore, thread, pigment and beeswax.
Taxonomy. 50 x 65 x 12cm; Drafting paper, card, pigment, thread and beeswax. © Nobby Seymour 2012
Surfaces (oblique-view). 50 x 65 x 10cm; Drafting paper, card, pigment, thread and beeswax. © Nobby Seymour 2012
Wraps it up, pretty well. 30 x 30 x 10; Drafting paper, bamboo, pigment and beeswax. © Nobby Seymour 2012
Woodbine Art, Malmsbury, Victoria - March 2013
‘Grey Matters’ comprise twelve translucent works in wax and tracing paper assembled over a period of two and a half years.
Many artists contemplate how ideas form in our consciousness, where do they come from?
From my own experience, memories of the dramatic awakening of my sensibility in childhood dominated my later development - for better or for worse. My creative essence commenced at the age of seven: I was taken to the theatre and it was the magic moments after the curtain rose that I became aware of conscious being and another world beyond.
Many, many years later, in this world beyond, I am mindful of Vladimir Tatlin’s maxim ‘the form is inherent in the material’ and my very own open circuit mantra; “CONCEPT indicates MEDIUM which determines PROCESS which generates FORM which refines CONCEPT” etc. Meditating on the maxim, the mantra and the formative memory, the image of each work would appear - though sometimes only after weeks of trawling after red herrings.
The works are theatrical. Intense thought and labour behind the surface bring an apparently simple production to your attention. They are a formal drama on which the surface plays the starring role.
All drafting paper impregnated with beeswax on at least one side, and mostly on both sides. All paper pH neutral, except black paper in Accommodating Change, which is isolated. All Foamcore and card is archival; beeswax is refined.
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