Jeremy Stanbridge: Chromoplast
June - July 2009
The Chromoplast series are paintings on shaped plastic. The shapes are derived from various sources, and are meant to imply diverse elements ranging from circuitry and product packaging to celestial bodies, breast implants and water droplets.
The works start with the creation of a computer file, which is then CNC routed and assembled to create a mold. The mold is then vacuformed in plastic, and an edition of five to ten molds is pulled. Each individual mold is then painted. Thus, the works are a variation of painted surfaces on one particular shape.
The domes and amoeba like shapes, each are blown to specific dimensions, and then painted, these shapes are unique.
The works are painted with automotive paint, using an airbrush. The paint itself is applied to the back of the plastic so the works are painted in reverse, the first marks being the most visible. The surfaces are metallic and some have metal flake. This gives the surface the appeal, while the plastic reflection acts as an irritant. Reflections cause the viewer to move about the work, attempting to find the particular point to absorb the underlying slick surface without distraction. As in my earlier work, there is juxtaposition between attraction and repulsion, an unattainable calm. The materiality draws in the viewer in the same way as a beautifully painted automobile, ultra glossy lipstick, or a deeply hued bruise.
Like my earlier painting series, these paintings have their root in 1950-70’s abstract painting. Specifically, the paintings relate to the Light Space Movement of the 1960’s. Artists such as Robert Irwin and Craig Kaufmann used plastics to create optical experiences and modernist forms. I am interested in relating these artists to the Kustom Kulture(“Big Daddy” Ed Roth) movement of hot rod culture, incorporating influences of what is traditionally thought of as “low culture”. In addition, the serial nature of the shapes relates to Donald Judd as well as other artists of the period whose work conceptually referenced a mechanical sense of production. Most importantly, the works relate to my past work in the operation of a “change of aspect”(1) a change of optical perception that exists between the object itself and the perception of that object. This has always been the most intriguing part of my art making process, the activation of a “space between.” These new paintings continue to relate to the body in a humorous way, as some of the shapes appear to mimic body parts, or anthropomorphized life forms.
However, unlike my work in the past, these paintings hold more of a relationship to the architectural space surrounding the piece, activating, containing and trapping the wall in its peninsulas and bay’s. The wall itself becomes a part of the painting.
(1)-Ludwig Wittgenstien, Philisophical Investigations, 1958
b. 1972, Vancouver, Canada, lives and works in Vancouver
Selected Group Exhibitions
1990 to 1994 BFA (with distinction) – University of Victoria, (Victoria, Canada)