Painted in 4 process colours on white coated wood. 2016. Wood, glue, acrylic paint. 30 x 30 x 122.5cm
This work is constructed from wooden blocks salvaged from industrial pallets, that the artist has used in various works, but chiefly they derive from material used to make SHED. The structure of the sculpture was built using unglued blocks and balanced on its own without support or adhesive. However, to make the work permanant hines glued the work so that it could be moved and shown at different locations and alwasy remain the same. The blocks were painted white and then Cyan, Magenta, Yellow and Black were painted on the surfaces of the blocks. The title of the piece makes reference to hines' past experiences of working in the printing industry as an Estimator. The white painted surface references the paper surface and the individual blocks may be seen as halftone dots or nowadays pixels. The 4 process colours when printed in varying densities ontop of each other can reproduce most colours we see in the world in printed fromat. This work then refers to process, light and balance. The wooden blocks were left as rough, unsanded surfaces to retain the natural texture and beauty and to reveal an individual facet for each block and the colour added to it. The circular end grain painted yellow expresses a quality of light and relationship to the sun perhaps.
This work is constructed from wooden blocks salvaged from industrial pallets, that the artist has used in various works, but chiefly they derive from material used to make SHED. The structure of the sculpture was built using unglued blocks and balanced on its own without support or adhesive. However, to make the work permanant hines glued the work so that it could be moved and shown at different locations and alwasy remain the same. The blocks were painted white and then Cyan, Magenta, Yellow and Black were painted on the surfaces of the blocks. The title of the piece makes reference to hines' past experiences of working in the printing industry as an Estimator. The white painted surface references the paper surface and the individual blocks may be seen as halftone dots or nowadays pixels. The 4 process colours when printed in varying densities ontop of each other can reproduce most colours we see in the world in printed fromat. This work then refers to process, light and balance. The wooden blocks were left as rough, unsanded surfaces to retain the natural texture and beauty and to reveal an individual facet for each block and the colour added to it. The circular end grain painted yellow expresses a quality of light and relationship to the sun perhaps.
