 |
||||||
|
|
George Charman By Jessica Brennan George Charman’s art practice explores the parameters of the gestalt perspective as a means
of questioning ones understanding of the organized wholeness of the space that surrounds us. His drawings actively subvert
space in a way that is at once both jarring and subtly poetic. We are drawn into this deception by a series of recognizable
traits – tone, shadow, surface – that automatically ground objects within the constructs of the real. It
is the attention to detail and lustrous quality in his drawings that belies our faith in the organized wholeness of objects
in space to act in a particular way. This opens up a platform of discussion concerning the notion of individual perception;
how one interprets the experience of perceiving a wholly constructed space when left with only vestiges of a past experience.
In George’s work it is the built environment rather than the natural
landscape that acts as the platform for ideas. The drawing or plan is employed as a language through which to explore
constructed metaphysical space. The drawn construction often exists individually in the void space of the paper.
Without reference to other objects or sightlines the constructions remain unanchored, free to exist in a space and at a scale
defined by the viewer. This sense of elastic scale is heightened by George’s use of isometric projection, also
known as the ‘god like perspective’. With no converging vanishing points both near and far planes exist
in equal measure. This forces all reference points in terms of perspective to be drawn from the construction, the drawing
becoming a world unto itself.
|
|
|
||
|
||||||
|
|
|
|
|
||
|
|
|
|
|
||
|
|
|
|
|||
|
|
|
|
|
||
|
|
|
|
|
||
|
||||||
|
|
|
|
|
||
|
||||||
|
||||||
|
||||||
