Robin Everett

Even to breathe is to inscribe your presence on atmosphere.

My practice addresses the complex reciprocities between permutation and object; a reaction to painting from the inside out, starting with the fundamental building blocks, the first tools: the primordial brushstroke and a materia prima.

Creating paintings via processes of extraction, transformation, and divination of form and material, successive works are created through an increasingly definitive set of rules. Exploring carbon; one of the first mark-making substances, a vital building block for matter, and the perceptible end-state of many processes, I have been noting the cyclical life and afterlife of residual actions passed over to objects. Carbon from a single entity is transmuted to paint and used to autograph single actions in prints, all the while leaving traces. These prints and traces are a library of items, of processes, and of actions, all detailing the construction of a painting lexicon.

In these processual renderings substance becomes entirely optical, and form, whether pictorial, sculptural, or architectural, is reduced or elevated to equal standing. Instead of the illusion of forms, we are now offered the illusion of modalities: inviting a contradiction that painted matter is incorporeal, weightless, and only exists optically like a mirage. Utilising the monochrome as a method of confusing spatial registration, relations and interrelations are opened up. In this state we explore the mutual inflection of one element by another, whilst we are equally presented with the identity of each individual. These singular elements bestow significance on one another precisely by virtue of their juxtaposition.

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