Wax, linseed, natural earth pigment and gesso on canvas & board. Float mounted in a bespoke, spline jointed, Black Walnut wood tray frame.
38.5 × 38.5 × 5.5cm (framed)
Ground Deconstructed I-IV emerged from an experimental process of disassembling a larger work, isolating fragments in which subtle fissures, shifts in surface and the interplay of light and texture revealed an unexpected spatial complexity. Through this act of reduction, the paintings move beyond the original composition to establish an autonomous visual language, in which minute variations become the primary subject.
The series draws upon the architectural notion of deconstruction, challenging the perception of the surface as a unified, resolved plane. Instead, each work articulates a delicate balance between structure and rupture, cohesion and fragmentation. Within Gunn’s traditionally handmade gesso, fine fissures and nuanced tonal variations assume a structural presence, creating an illusion of depth and an intimate sense of space.
Exercising a rigorous minimal restraint, Gunn reduces the visual field to its essential material and spatial relationships. Nothing is superfluous; the composition depends upon precise balances, subtle displacements and the tension between absence and presence.
The resulting works invite a sustained, contemplative encounter, drawing the viewer into the minute topographies of the surface, where imperfect nuances and the materiality of the painting becomes both subject and space.
Wax, linseed, natural earth pigment and gesso on canvas & board. Float mounted in a bespoke, spline jointed, Black Walnut wood tray frame.
38.5 × 38.5 × 5.5cm (framed)
Ground Deconstructed I-IV emerged from an experimental process of disassembling a larger work, isolating fragments in which subtle fissures, shifts in surface and the interplay of light and texture revealed an unexpected spatial complexity. Through this act of reduction, the paintings move beyond the original composition to establish an autonomous visual language, in which minute variations become the primary subject.
The series draws upon the architectural notion of deconstruction, challenging the perception of the surface as a unified, resolved plane. Instead, each work articulates a delicate balance between structure and rupture, cohesion and fragmentation. Within Gunn’s traditionally handmade gesso, fine fissures and nuanced tonal variations assume a structural presence, creating an illusion of depth and an intimate sense of space.
Exercising a rigorous minimal restraint, Gunn reduces the visual field to its essential material and spatial relationships. Nothing is superfluous; the composition depends upon precise balances, subtle displacements and the tension between absence and presence.
The resulting works invite a sustained, contemplative encounter, drawing the viewer into the minute topographies of the surface, where imperfect nuances and the materiality of the painting becomes both subject and space.
