Noel Ivanoff: Bandwidth
Noel Ivanoff鈥檚 practice often skirts the peripheries of painting. In the past, he has mounted paintings inside partially constructed crates, literally freighting his works with the armour required to transport these fragile surfaces across the globe. He has detached his paintings from their stretchers, bringing these invisible supports to the fore and redeploying them鈥攏ot to shore up a painting's flatness鈥攂ut to contort and flex the picture plane in actual space. For his Digit paintings, he dispensed with the brush altogether, using guides to steer the tip of his finger (or 鈥榙igit鈥�) through a bed of wet paint in uniform lines, like a tractor ploughing a field. In such projects the physical boundaries of the work extend outward, taking in the studio environment they are produced within and simultaneously edging closer to the artist鈥檚 body.
Noel Ivanoff鈥檚 practice often skirts the peripheries of painting. In the past, he has mounted paintings inside partially constructed crates, literally freighting his works with the armour required to transport these fragile surfaces across the globe. He has detached his paintings from their stretchers, bringing these invisible supports to the fore and redeploying them鈥攏ot to shore up a painting's flatness鈥攂ut to contort and flex the picture plane in actual space. For his Digit paintings, he dispensed with the brush altogether, using guides to steer the tip of his finger (or 鈥榙igit鈥�) through a bed of wet paint in uniform lines, like a tractor ploughing a field. In such projects the physical boundaries of the work extend outward, taking in the studio environment they are produced within and simultaneously edging closer to the artist鈥檚 body.
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