PHIL LAMBERT
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    • Charcoal / Nocturne series 2019
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    • Ysgol Pencae Mural 2018
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  • Contact
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  • Home
  • Portfolio
    • Charcoal / Nocturne series 2019
    • Soil
    • Rewilding Turf studies 2019
    • Whitehead Bricks
    • Blackboard Series
    • Unnatural Selection Projects
    • The Luscher Series
    • Dotty Illusion Motif
    • Physiognomy Projects
  • Workshops
    • WCSS22
    • ARTICULTURE and Art CENA
    • Soil Security Programme Conference 2019
    • Heolddu, Prince's trust and ESCRI project 2014
  • Commissions
    • Tyler Mural
    • Claudia Bunk Bed Mural
    • Soil Security Programme Conference 2019
    • Ysgol Pencae Welsh Children’s Characters mural 2018
    • Ysgol Pencae Mural 2018
  • Consultancy
  • Writing
    • CU arts
  • Perception pieces
  • Evolution and Chance
  • Archive
    • Anblickspiel
    • Bill Taylors Brain
    • Every Witch Way
    • Studio work 2013-2014
    • Observational Works 2005 -
    • Miscellaneous
  • Contact
  • Links
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The Blocks and Chance Series

This series of works investigated the perception of space, whilst exploring an innocent and playful aesthetic which referenced children's toys, dominoes and comic book graphics. Coloured blocks are scattered on a gridded surface, digitally mapped using Sketch Up, and then painted from the digital map. Chance colour and compositional arrangements ask questions about the universal application of theories on colour and composition. 

In addition, particular surfaces were left blank to create tension between the background wood grain and foreground areas. This led to areas of perceptual instability, which both complicates and adds interest (brings attention) to the spatial reading of the paintings. These reference Cezanne's use of spatial ambiguity to highlight the space within a painting.

The works explored a range of variables including the complexity of the coloured surfaces (ranging from flat colour, through symbols, to representational areas), complexity of the composition and the relationship of the view to the edges of the board. At their most complex the pieces begin to reference research into Memetic (cultural) evolution, in line with theories developed by Professor Susan Blackmore from the Selfish Gene theories of Professor Richard Dawkins.

The symbols chosen are as close to the Platonic Solids as possible in order to resist creating distracting prior associations in the viewer. Although, some of the more complex symbols are drawn from electrical diagrams, both obscure enough to avoid associations and appropriate for a materialist view of perception created by electrical signals in the brain.
Picture
Box of blocks 1, Feb 2013 oil on Board 30.5cm x 40.5cm
Picture
Box of blocks2 May 2013 Oil on Board 30.5cm x 40.5cm
Picture
Blocks on the Cutting Table 2013
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