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Artist Statement

 

I am a conceptually representational painter and installation artist, working within a narrative that questions perceptions of art and the conditions of painting. Combining found objects, manipulated semiotics and painterly language to create artworks that aim to question our perceptions of the things we are looking at and the ways we are looking at them. Through a systematic unpicking and critique of the modern obsession with consumption and possession, and a formal reconsideration of material and meaning my work brings the audience into conversation with the functional object of painting.

Questioning perception through an examination of the overlooked is a way of challenging the subject:object dynamic and the value judgements based on their unstable foundation.
Expanding the potentiality of objects, exceeding their function and questioning our perception.
My practice represents the process of making, and re-presents that process to the viewer.

Works combine observations of art with its raw materials; a natural narrative that hovers between incomplete intention and unintentional expression. I present the ‘everyday’ in art, depicting sequences of actions that echo the relationship between painting and performance. These are works that explore painting and are defined as painting; a combination of painting with its periphery.

Works combine observations of art with its raw materials; a natural narrative that hovers between incomplete intention and unintentional expression. An examination of the unintentional to explore the agency of objects and our perception of them.

I am a self-proclaimed perceptual artist, working with an object:object perspective within the conceptual materialist ideology. Nominating different forms of object - including process, detritus, and concepts - as part of the ecosystem of painting, to resignify the definition of value applied to objects, and approach painting indirectly.

These objects are not paintings, and yet when placed together, they become painting. Demonstrating the quality of emergence in objects, and our ability to perceive it. It could be said that their existence as painting is fictional, metaphorical, or conceptual. These are not paintings because they have been painted but instead earn their label through their materiality. A combination of materials, that form an implication of painting. A form of material painting.

My practice explores painting as subject, object, and most importantly metaphor, which has the potential to access a connection with painting that goes beyond its use as medium, commodity, and object. Implying a question to our understanding of perception.

For me, the most important element is the challenge to look at things differently; to see the narrative and philosophy in the questioning of ‘Art’. After all: which is more real, the world or the way we frame it?

Ally McGinn has a studio in Bath, has recently completed her BA and MA at Bath Spa university and is working towards her PhD.