Caves

First Outside Inside Last, Gian Manik continues to explore the phenomena of vibration as an in-between or liminal space that is created when a painting borrows from a number of visual devices as opposed to simply recording in a singular style.

Fundamentally, painting explores the language of representation. The term vibration, when used in the context of my work, represents an in between or liminal space that is created when a painting borrows from a number of visual devices, as opposed to simply recording in a singular style. Representation is the nature of how one expects a predetermined reality. The specific aim of my practice is to investigate how painting the concept of vibration operates in representation.

For my recent practice, I have worked on a series of paintings in the studio that explore this concept of vibration by employing visual devices that borrow both from the abstract and the real. This is achieved by a collation of photographing abstracted surfaces, which I then render true to form. By performing this process, from source material via media manipulation and through to exhibition, I attempt to uncover a way to discuss contemporary painting as a tool to re-present the image, rather than reproduce.

Through my work I outline the understanding of how representation is experience, and define what that means in a work of art. Without this vibration, representation cannot justly and originally re-present. By providing an alternative to singular experiences of representation, movement through difference creates a vibration within an artwork.

Gian Manik