Harvey Rayner
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Please see my website for more details...
I have come to describe my work as being created in and derived from a unique system of geometric metre. This is the metre of visual composition as opposed to the metre found in poetry although the formalising and ordering property is the same. This metre, derived from particular and distinct geometry, provides a grammar and the fabric of my visual language. I liken these devises to the structural conventions evolved and adhered to in musical composition. These conventions limit, define and order the boundlessness of the abstract sound world into the stuff of musical language. As with some musical language my visual language is shaped by the concerns of harmony, dynamics, rhythm, lyricism and counterpoint. I find music, and musical terminology an invaluable resource in describing my work and finding tangible ideas for invention within visual composition. I developed the rudimentary beginnings of my work, eight years ago, principally with a compass, rule and calculator. With the use of a pc I am now able to marry and vary both 2d and 3d elements with much greater speed and directness. Due to the modular method I use to build compositions and the possibility that combined motifs can be, in turn, recycled the complexity of my work grows exponentially over a constant time. Digital tools and processing are now, I feel, an integral part of my creative process. The graphical style of my compositions is not something I purposefully went out to achieve. It is simply the clearest and purest means I have found to express my subject and method, this being the geometry itself. So far, when approaching the established fine art world with my work I have registered a view that my work is graphic design aspiring to be art. I have no background in graphic design, but contend this view for a different reason. This view implies graphic design is in some way sub art. Graphic designers are the true craftsmen/women of new media. They are the creators of the new visual languages and formats which will form the future interfaces we will use to access tomorrow's information age. This in turn will feed into the shape of the art of tomorrow. I personally call myself an artist and my work art because it exists for its own sake, and I feel, in its own right. I would not know what else to call it. However I do acknowledge my work is influenced by concerned shared with graphic design and other spheres of design. If something of this can been seen in my work that is a good thing from my own perspective. Whatever functions or definitions are given to my work by me or by others, I would like people to meet it on its own terms. Only if this is done can I give what I have to offer in return. Art for me is not a one way thing, it is a fair exchange between artist and audience. Seeking now to actively create my own channels to reach my potential audience I have become increasingly interested in experimental image display. I am currently working to create interactive and animated digital formats to navigate and simultaneously view themed yet distinct elements of work. When viewed as an entire body my compositions are thematically linked within a hierarchy. A global and detailed view through the evolution of the numerous compositions in this hierarchy is key in gaining the expression I seek. In terms of collaboration I am also keen to explore the simultaneous experience of music and art. This I approach within the context of seeking a more ambient rich and harmonious exhibition space. An ergonomically crafted place to commune with, and receive, art as opposed to a sterile chamber in which to confront and interrogate art is an integral part of my artistic vision. Beauty in art for me is something always very old, yet something always very new.ript s |
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