ARTISTS
Daniel Hutchinson: When The Lighthouse Is Dark Between Flashes
In WHEN THE LIGHTHOUSE IS DARK BETWEEN FLASHES, Hutchinson references both the macrocosm and the microcosm. Titles point to broad analogies with astronomy, cosmology and particle physics, but also refer to the works鈥� immediate physical environment and the very materials of their essence.
The series Paintings for Sterling Board feature brushstrokes that respond to supports built from sterling board, a compressed-wood product that Hutchinson honours by replicating its textured, irregular surface in dark, glistening oil paint. In Painting for Sterling Board and Nonagon Shape (dark energy expansion) the radiating polygonal shape of the frame provides a visual analogy to the dark matter energy propelling the rapid expansion of the universe.
Works in the series Paintings for Picture Frames respond to their surroundings, quite literally, as interlacing curved or geometric brush strokes complement and contrast with the frames that contain them. Titles such as Frame As Molecular Cloud, and the illusion of depth created by contrasting areas of flat black and shimmering highlights, point to the external world. Yet these paintings鈥� non-objective nature pulls us firmly back to the realm of the abstraction and the artwork as thing in itself.
In Paintings for Electric Light, a series begun in 2013, brushstrokes are applied in response to fluorescent light fixtures arranged in various configurations. As reflected light shifts across the painting鈥檚 surface in accordance with the viewer鈥檚 movements, the sense of dynamism is palpable. Likening this relationship to the workings of a lighthouse (inspired by an analogy found in George Kubler鈥檚 The Shape of Time: Remarks on the History of Things), Hutchinson states:
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In WHEN THE LIGHTHOUSE IS DARK BETWEEN FLASHES, Hutchinson references both the macrocosm and the microcosm. Titles point to broad analogies with astronomy, cosmology and particle physics, but also refer to the works鈥� immediate physical environment and the very materials of their essence.
The series Paintings for Sterling Board feature brushstrokes that respond to supports built from sterling board, a compressed-wood product that Hutchinson honours by replicating its textured, irregular surface in dark, glistening oil paint. In Painting for Sterling Board and Nonagon Shape (dark energy expansion) the radiating polygonal shape of the frame provides a visual analogy to the dark matter energy propelling the rapid expansion of the universe.
Works in the series Paintings for Picture Frames respond to their surroundings, quite literally, as interlacing curved or geometric brush strokes complement and contrast with the frames that contain them. Titles such as Frame As Molecular Cloud, and the illusion of depth created by contrasting areas of flat black and shimmering highlights, point to the external world. Yet these paintings鈥� non-objective nature pulls us firmly back to the realm of the abstraction and the artwork as thing in itself.
In Paintings for Electric Light, a series begun in 2013, brushstrokes are applied in response to fluorescent light fixtures arranged in various configurations. As reflected light shifts across the painting鈥檚 surface in accordance with the viewer鈥檚 movements, the sense of dynamism is palpable. Likening this relationship to the workings of a lighthouse (inspired by an analogy found in George Kubler鈥檚 The Shape of Time: Remarks on the History of Things), Hutchinson states:
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