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Philip Crozier
People mostly become artists because their most profound aesthetic sensations have come from art works and they want to participate in the dialogue. In a world of proliferating and dazzling visual media, I increasingly value painting for its silence, its static quality, its refusal to explain. My work is made slowly, with many false directions and alterations, and is mostly about locating and condensing a visual idea. The process has moments of great excitement, tension and drama, but also long periods when nothing much seems to happen. I am aware that, when finished, my work often looks orderly and deliberate: I conclude that the tension between this appearance and the uncertainty and emotion I feel while making it must be one of the things it is about.
People mostly become artists because their most profound aesthetic sensations have come from art works and they want to participate in the dialogue. In a world of proliferating and dazzling visual media, I increasingly value painting for its silence, its static quality, its refusal to explain. My work is made slowly, with many false directions and alterations, and is mostly about locating and condensing a visual idea. The process has moments of great excitement, tension and drama, but also long periods when nothing much seems to happen. I am aware that, when finished, my work often looks orderly and deliberate: I conclude that the tension between this appearance and the uncertainty and emotion I feel while making it must be one of the things it is about.
 20th Century Design, oil on canvas, h101.5 x w76.2cm x 3 panels, £1750 |
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 Beyond the Tape, oil on canvas, h97.5cm x 87.5cm |