Ian James Segrave b.1989

Ba Fine Art - Anglia Ruskin/ University of Essex 2008-2011

Part of Synchro Studios, Leigh-on-Sea, Essex

Ian Segrave looks at the formal qualities of painting and how it is viewed as a whole rather than cropping at the canvas edge. Working with sculptural forms, an awareness of space, and the need/desire to create painting; objects are created that assert themselves through materialistic gestures. His interests lie in the preconceived elevation that painting holds, and tries to tie this into a sculptural awareness. The form can sometimes be anthropomorphic, edging on the idea that a form can be emotional, working through suggestive form rather than imagery or colour theory hence bringing another depth to painting. Yet painting is taken on a generalization; stripping back to its formal qualities of framework and surface, often manipulating both. Tensions are created here that bond the material use of the painted surface to the structure it resides on. Colour theory isn't played into this but the fascination with the flow and process of the paint is taken into account. As a material the oil, acrylic and spray paint can be manipulated in process and are highly sculptural through their thickness and application technique. An interest in the lack of control when applying the paint is the main driving factor for subject matter and composition as the lack of control lets the form decide the paint flow often working very much in the moment with a certain speed noticeably inherent. Detailed 'traditional' paintings are amongst the body of work as are observational drawings that take subject from the objects; asserting the contrast between the two dimensional imagery, and the three dimensional forms of painting installation which in relation are actually an even greater elevation.