Statement
My graphic images are based on a personal exploration between painting a two-dimensional image on a flat surface, and a cosmological hypothesis. This theory entails that space is required for any outline to exist —a duality— rather than a singularity; which is the current consensus in cosmology.
Since my youth, I have been fascinated by the tactile sensation of painting —the rhythmic movements of a loaded brush of colour across a spatial ground of a white surface etc— the only difference today, is that my work is graphic rather than representational. I am a perfectionist at heart, never truly happy with my last artwork: this keeps me creating ‘one-off’ images until I have found the perfect picture.
Before putting pigment to canvas, I first need to know what kind of image I am going to paint. I work out the ‘idea’ with small-scale sketches in graphite, then prepare an acrylic study once I have made a decision on the content. Using colour swatches and intuition to determine suitable colours, I then transfer the whole design to the full-size canvas and begin painting.
In my newest painting, the composition is a ‘modern-day equivalent of how primordial outlines created a real image’. With art, an outline will appear between two flat areas of colour side by side if real space is present; in fact, you can read my image as follows, i.e.: yellow outlines on a black background, or, black edges on a yellow ground: a duality exists with every outline in nature.
You must be yourself for your art to be true.
Mark GN Richards (MaGNeR)
Two Seated Figures (1983)
Two Seated Figures (1983)
Houses and Gardens (1994)
Houses and Gardens (1994)
Two Fishes (1994)
Two Fishes (1994)
The Blue Window (1994)
The Blue Window (1994)