Penny Coss – Australia
“I am often attracted to landscapes with troubled histories, including the natural environment , its biology, botany and geology with oblique references to energy and landscape systems in extremis. Recent work focused on natural and manmade disasters including the prevalence of local bushfires and algal bloom in the littoral zones of water systems, Queensland floods in Charleville 2009 and the 2011 tsunami that hit the Fukushima Nuclear Power Plant .
A type of psychogeography, walking in the landscape is situational, traversing that which is familiar and unfamiliar.
My art practice is in concert with walking in the landscape, intuitively bringing these experiences to the studio. Intense meditation and time spent testing and experimentating culminates in a rich archive of ongoing interexchange between ideas and material outcomes.
Constructed paintings in multiple components and various supports often rely on gravity within a vertical field, held suspended on the wall or on or above the floor.
In recent work, lengths of canvas fall or drape in different saturations, crushed, dyed and painted, revealing marks and accidents through cutting tears, creases and irregularities. Parts inform parts, woven under and over, leaning one on top or over another— they are held, bound, touching and resting.