Archetype Painting, niche
10 x 15 x 2.5cm, gouache, gold leaf, acrylic paint, wood, 2023
[ongoing series since 2017]

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Each Archetype Painting is a unit of indeterminate space

The individual ‘niche’ contains a transition between gold, blue and white. These paintings circulate through multiple modes – encounter, writing and sound. Through this process the painting exists at the nexus of a growing network of collaborators, each contribution adding layers of complexity and individual insight to the archetype.

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WRITING PAINTING #2
Artist book
15.6 x 23.4cm, 16 pages, 2022
Digital version

PAINTINGS EXCHANGED
Archetype Painting, niche (series two, 1-3)

WRITERS
Aurora Tang – Alpenglow
Maximos Constas – Harmony without Stasis
Chris Fite-Wassilak – A brief history of levitation

WRITING PAINTING #1
Artist book
15.6 x 23.4cm, 24 pages, 2019
Litho printed, edition 250 copies

PAINTINGS EXCHANGED
Archetype Painting, niche (series one, 1-8)

WRITERS
George Vasey – As Light as a Painting
Spike Bucklow – Shifting Sands
Veronica della Dora – The Veil of Heaven
Maria Fusco – ____’s office
Lavinia Greenlaw – Slow the Quick Jump
David Ryan – Archetype Painting, niche, series one, 6, 2017
Michael Squire – Looking Out and In
Harriet Tarlo – indeterminate areas

Printed books available to buy:
Wysing Arts Centre, Fox Road, Bourn, Cambridge, CB23 2TX
Site Gallery, 1 Brown Street, Sheffield, S1 2BS

NOTES:
WRITING PAINTING – the articulation and exchange of painting

PROPOSITION
Paintings were exchanged with writers for words. The recipient agreed to install the work in their domestic space or workplace and write a text with title in response.

OUTLINE
This book explores issues of articulation, distribution and writing in painting. My aim is to question the reception and circulation of work through personal dialogue and professional exchange. I’m interested in what the presence of a painting is; and, how it could exist in a dialogue around it. What does it mean to live with a painting? How does the influence of duration and setting frame a daily encounter? Through a process of exchange: do words become a contingent echo, optional transcript, historical counterpoint, reactive parallel, or perhaps, a painting’s most itinerant form?

PUBLISHING INFO
Writing Painting
Published by E. Jackson
Printed and digital versions
© E. Jackson 2019 / 2022
Texts © the authors 2019 / 2022

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Sounding Painting
Listen to album on SoundCloud (released 2021)
Essay by Adam Harper Continuity and Change: Reflections on Sounding Painting PDF

NOTES:
SOUNDING PAINTING – Slow Looking and Deep Listening

PROPOSITION
Paintings were exchanged with four composers for sound. Each composer agreed to install the work in their domestic space or workplace and create a sound piece with title in response.

PAINTINGS EXCHANGED
Archetype Painting, niche (series three, four, five and six)

BACKGROUND
Sounding Painting is part of a body of work that uses exchange to test structures of distribution and recognition. In these works, paintings circulate through multiple modes – encounter, dialogue, writing and sound. Painting becomes a catalyst, a speculative object, a synthesis of interpretation and response. Through this process the painting exists at the nexus of a growing network of collaborators – each contribution adding new layers of complexity and individual insight to the archetype.

COMPOSERS
Claudia Molitor is a composer, artist and improviser whose work hovers between music and sound art, extending across contemporary art practices, such as video and installation art. Exploring the relationships between listening and other senses as well as embracing collaboration as compositional practice is central to much of her practice.

Niels Vermeulen is a composer-producer of electronic/acoustic music. He uses piano, his voice, vintage synthesizers and a modular system to make music with a strong melodic/harmonic connection, combined with minimalistic rhythms. He likes to collaborate with theatre-makers and visual artists. Besides working solo he is part of synth-rock band Zebra Lasers. You can find his work online (nielsvermeulen.com) or in several (performing) arts spaces.

Fred Frith is a songwriter, composer, multi-instrumentalist (bass, keyboards, violin) and improviser performing mostly on various permutations of the electric and acoustic guitar. Occasionally he uses crude home-made instruments, either of his own invention or in collaboration with his long-time colleague Sudhu Tewari in the band Normal. Fred learned how to compose in rock bands, starting with Henry Cow in 1968. This meant writing for and with people that he knew, and then arriving at the final result through a collective rehearsal process. During the Henry Cow years he fell in love with the recording studio and its endless possibilities. Fred embraces the idea of the ‘work’ as an unfinished and constantly mutating entity. Collaboration, improvisation, sculpting sound in the studio, and treating composition as an open-ended process remain central to how he makes music.

Pia Achternkamp (loh) is researching on the borderlands of music, performing arts, language and fine arts – an obscure and yet fruitful landscape as a basis for multi-sensory experience and experimentation. She interrupted her studies of philosophy at Humboldt University Berlin in order to dedicate herself fully to the composition of music and soundscapes for theatre/dance projects. As she had always been curious about the interdependencies in sound, space and movement, Pia is usually playing her music live on stage when working with actors/dancers – this is how her artistic practice transformed towards a point where it became unavoidable to move her own body and explore its performative qualities and potentialities (piaachternkamp.com).

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To date, 24 Archetype Paintings (2017 – 2024)  are in circulation for the Writing Painting and Sounding Painting exchanges
See TEXTS for publications