Sam Codrington
Postcards From The Deep
I've walked past this mural on numerous occasions and thought that I should share it with you.
Taken for www.greateasternwallgallery.com:
Killick’s hyper-detailed paintings are influenced by his underwater explorations as a keen wreck diver. He spends much of his time in the English Channel amongst the multitude of ship carcasses that are spread across the sea-bed below one of the busiest shipping lanes in the world. It is a dark, dangerous place, often with little or no light, and barely any visibility. Within the narrow beam of torchlight, Killick crawls along the sea floor, closely studying the multitudes of life forms that are drawn to these unnatural reefs. Perhaps due to the intense focus this type of diving requires, the work is often reminiscent of electron microscope photography, and biological forms appear that are cell-like or bacterial. Although the works appear to be derived from the careful study of organisms, they are in fact entirely fabricated.
Killick pioneered a new painting technique using oils, glass, perspex and LED lighting in the realisation of this exhibition. Using oils diluted to a semi transparent state, the artist applies the paint to the glass in a process of addition and subtraction, over and over, to build up a sense of depth and overlay. This process means that each work has to be completed in one continuous application with no break until the work is complete. Re-working at a later stage is not an option, as the layer of paint is so fragile, that any further application would destroy the image.
Postcards From The Deep
I've walked past this mural on numerous occasions and thought that I should share it with you.
Taken for www.greateasternwallgallery.com:
Killick’s hyper-detailed paintings are influenced by his underwater explorations as a keen wreck diver. He spends much of his time in the English Channel amongst the multitude of ship carcasses that are spread across the sea-bed below one of the busiest shipping lanes in the world. It is a dark, dangerous place, often with little or no light, and barely any visibility. Within the narrow beam of torchlight, Killick crawls along the sea floor, closely studying the multitudes of life forms that are drawn to these unnatural reefs. Perhaps due to the intense focus this type of diving requires, the work is often reminiscent of electron microscope photography, and biological forms appear that are cell-like or bacterial. Although the works appear to be derived from the careful study of organisms, they are in fact entirely fabricated.
Killick pioneered a new painting technique using oils, glass, perspex and LED lighting in the realisation of this exhibition. Using oils diluted to a semi transparent state, the artist applies the paint to the glass in a process of addition and subtraction, over and over, to build up a sense of depth and overlay. This process means that each work has to be completed in one continuous application with no break until the work is complete. Re-working at a later stage is not an option, as the layer of paint is so fragile, that any further application would destroy the image.