Chris Packer

Chris Packer


22 Feb 2019

There are a number of ideas in my Movement works. Some have to do with the interaction of colours or place attention on the picture plane. Others are about mimicking the movement a painting might be subject to, as if the work was doing the work of the viewer in some way, mocking the gaze.

Other works have more to do with the unnoticed. They allow, or take into themselves, the context of the work – its position in terms of the movement of air or people, or the changing lighting conditions.

The general idea of allowing movement is to broaden out the scope of the work as art. I know there are a lot of new and different genres of art, and have been for over a century, but there still seems to be a need to push against these categories. ‘Kinetic Art’, for instance, conflates art-that-moves into a subcategory, without which you might not allow it as art, or the existence of which actually has a chilling effect on what the works themselves are trying to do or say. By taking painting and letting it move in a different direction, it retains aspects of painting while losing its definition as a painting entirely. So there is an ever-so-slight undoing of what we expect when we address ourselves to a painting.

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