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Preview - Friday 13 June 2003
Show - 14 - 29 June 2003  Fri -Sun  12 -6

Grania Cumming

The painting as a canvas or planar element on a frame, or effectively surface with particular boundary, has prevailed as a formal paradigm. In this way we can imagine a painting as both the enclosure of the work and the expanse of that enclosure as plane or surface, which for the purposes of my practice I will describe as 'surface of boundary'.Looking at architecture, architecture specifically as process towards built form, we start with a line on the paper. This line, in the context of an architectural plan already has assumed attributes of outline or boundary and is imbued with a surface potentially extending into the vertical plane upwards or/and downwards into infinity.By the nature of the process architects are trained to read 3d in 2d. The process destination towards real built form, from inception astonishingly means that the drawing used by convention is entirely 2d, [3d is almost exclusively used to explain to the uninitiated about the building prior to it's being built]. Therefore within the architectural process, drawing could be said to be reality described in 2d.In coming full circle in the search for a painterly connection between the process of making the 'art' and process of making the 'built form', I could postulate that: Architecture uses 2d to describe ‘Reality’, whereas Painting uses 2d to create the illusion of ‘Reality’.
Taking this further, through practice wholly in painting, I would like to invigorate this arguably tenuous link between art and architecture, by inverting the process towards their respective destinations.In other words I am provoking personal practice through the question, what happens where,
Architecture uses 2d to create the illusion of Reality, whereas Painting uses 2d to describe Reality.

Grania Cumming - 2003

Portrait of the Artist