The term «still life» signals
the fundamental experience of painting for Milroy, encapsulating her fascination with the relation between stillness and movement, contemplation and action.
Not exact matches
That
experience was pivotal in his development as an artist, and landscape
painting has remained a
fundamental aspect
of his practice through subsequent decades.
Seen as a whole, his practice raises
fundamental and evergreen questions about the value
of images and art, the nature and possibilities
of painting and film, the intertwined relation
of our subjectivity to cultural identity, and the ways we address what we
experience in life in parallel to the mediated world
of images.
There are,
of course,
fundamental differences between the immaterial, insulated nature
of VR
experiences and the way we encounter physical objects, whether
paintings, sculptures, or moving - image works viewed on a monitor or projected onto a wall.
Without any
fundamental attachment to the space itself in which they reside, Pinelli's
paintings can not be comfortably categorized without the surrounding themselves informing the work, requiring the walls to become part
of the
experience and artworks itself.
All concerned with the
fundamental aspects
of painting, particularly color, materiality and perception, each artist explores and reformulates his
experience of the world through the framework
of minimal abstraction.
Since the early 1980's he sought to create
paintings informed — on a meta - narrative level — by his personal
experience, while also reflecting the
fundamental rules
of his pictorial vocabulary.