Sara(And All The Reasons Why She’s Not The One To F**k With)
Aerosol, acrylic, instant film, thread, tape, collaged paper and graphite on paper.
76cm x 112cm x 300gsm
2015

Production of the most accurate images of Glasgow. . . .for fuck sake!
(installation view) Household polymer, oil, acrylic and marker on shelf; Oil on canvases.
Dimensions variable
2015

Black Factory. . . .or whatever Andy would call this.
(installation view) Household polymer, acrylic, oil, aerosol, boot prints, gesso, shelving, wood, ACP and various objects.
Dimensions variable
2015 - 2016

Finas Townsend III

b. 1987

Not to label myself as a modernist sympathizer, but I’ve learned to appreciate/realize that certain proposals in painting since then. . . .were of delightfully rude necessities. Malevich’s ‘blackisms’, Pollock’s chronic-masturbatory technique, and also Warhol’s ‘silverisms’ which included various tones of urophilia, homoeroticism and illicit consumption. . . .just to name a few. In all, I view these behaviours as mere paradigms of how to continue this tradition of ‘irreverence-in-colour’. However, it is the context of ‘today’ that is to be exploited; a context containing certain resources and subject matter that were previously made unavailable to my painting colleagues of the past.