Bio Adrienne Overall is a visual artist based in Sydney with a BFA and MFA in Painting from the National Art School. Her paintings and photographic works have been exhibited both locally and internationally and are held in public and private collections.
Artist Statement:
In Pattern of the Days I have used painting methods that juxtapose oppositional techniques and strategies to encourage the viewer to consider their relationship to an unfixed ambiguous image, while experiencing the painting as both object and illusion.
In these works chance and automatic processes are combined with what appear to be incompatible premeditated techniques. Using association and suggestion to ‘find’ the image in the process, each painting sets its own terms and develops in its own way. Spontaneous gestural mark-making and mechanical processes emphasise the reality of the canvas surface, while suggestion of elusive imagery triggers imagination and memory.
Widespread in nature and in art, pattern is defined as a regularly repeated arrangement or recurring design. In abstract ideas it alludes to the predictable, the ordered, the known, and is linked to memory to give a regular or intelligible form to the world. In my paintings the use of pattern exploits both aspects simultaneously.
The drive to make sense of the world from an ‘already seen’ image compels us to seek constant, unchanging properties and to extract essential features to identify a ‘pattern’. What defines us as a species is our desire to transcend that compulsion and to reconstruct properties as we ‘imagine’ them to be.
By encouraging our engagement with an ambiguous or contradictory image while at the same time challenging our patterns of interpretation, this body of work invites the viewer to consider alternative ways of apprehending their world.
Artist Statement:
In Pattern of the Days I have used painting methods that juxtapose oppositional techniques and strategies to encourage the viewer to consider their relationship to an unfixed ambiguous image, while experiencing the painting as both object and illusion.
In these works chance and automatic processes are combined with what appear to be incompatible premeditated techniques. Using association and suggestion to ‘find’ the image in the process, each painting sets its own terms and develops in its own way. Spontaneous gestural mark-making and mechanical processes emphasise the reality of the canvas surface, while suggestion of elusive imagery triggers imagination and memory.
Widespread in nature and in art, pattern is defined as a regularly repeated arrangement or recurring design. In abstract ideas it alludes to the predictable, the ordered, the known, and is linked to memory to give a regular or intelligible form to the world. In my paintings the use of pattern exploits both aspects simultaneously.
The drive to make sense of the world from an ‘already seen’ image compels us to seek constant, unchanging properties and to extract essential features to identify a ‘pattern’. What defines us as a species is our desire to transcend that compulsion and to reconstruct properties as we ‘imagine’ them to be.
By encouraging our engagement with an ambiguous or contradictory image while at the same time challenging our patterns of interpretation, this body of work invites the viewer to consider alternative ways of apprehending their world.
