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Mark
Afternoon at Sophie Gannon Galery, Melbourne



Afternoon 1, acrylic, sand, lime plaster, foam coat, extruded polystyrene, wood, 76 x 60 x 3 cm, 2019



Afternoon 2, acrylic, sand, lime plaster, foam coat, extruded polystyrene, wood, 76 x 60 x 3 cm, 2019



Afternoon 3, acrylic, sand, lime plaster, foam coat, extruded polystyrene, wood, 76 x 60 x 3 cm, 2019



Afternoon 4, acrylic, sand, lime plaster, foam coat, extruded polystyrene, wood, 76 x 60 x 3 cm, 2019



Afternoon 5, acrylic, sand, lime plaster, foam coat, extruded polystyrene, wood, 76 x 60 x 3 cm, 2019



Afternoon 6, acrylic, sand, lime plaster, foam coat, extruded polystyrene, wood, 76 x 60 x 3 cm, 2019



Afternoon 7, acrylic, sand, lime plaster, foam coat, extruded polystyrene, wood, 76 x 60 x 3 cm, 2019



Afternoon 8, acrylic, sand, lime plaster, foam coat, extruded polystyrene, wood, 76 x 60 x 3 cm, 2019



Afternoon 9, acrylic, sand, lime plaster, foam coat, extruded polystyrene, wood, 60 x 44 x 3 cm, 2019



Afternoons can be thought of as fragmented time connectors, an in-between state that links morning to evening. This new series, Afternoon, speaks to the golden window of time allowed for the act of painting once a fresco plaster begins to dry, allowing for a transference of warm daylight to infuse within its surface and image. The mornings are reserved for preparing the panels with a fresh mixture of wet lime plaster and sand. The works are then laid to rest until the moisture evaporates in the afternoon—that’s when they become ready to paint. These slabs meditate on that crescendo moment, when time slows and spaces seem to come alive, flooded with rays of light that weave through the openings of buildings to illuminate the material of their surface.