colour demolition the rorschach test
Juice 126/Robert Elliott proclaims: “Paint is there to be splashed, distorted, demolished, dripped and moulded into new textural forms.” Robert Elliott/Juice One Two Six is the pioneer of aerosol abstraction and is known for the use his of metallic paint in his compositions, one of the founding member of Ikonoklast Movement aerosol art collective that revolutionized United Kingdom Graffiti/aerosol art in 1990’s and continued this exploration of painting as a member of Agents Of Change in the new millennium and beyond. In his 30 year career Birmingham born and based, Juice One Two Six is recognized as a pioneer in the UK abstract aerosol and graffiti art form. In his role as artist and curator he has played a active role in the evolution of the art form and continues to pioneer aerosol based Abstract Expressionism, continuously injecting impetus into the evolution of the art, as he defies the typographical and character ID’s commonly associated with aerosol and graffiti practice, by exploring painting through Abstract Expressionism, colour, texture and gestural movement, constantly pushing the boundaries of what can be achieved within spray practice medium. He continues to develop techniques for concrete and his favorite surfaces, glass and metal and push at the boundaries of the art form “i want to challenge the eye and mind, give colour to emotion, i’m doing the only thing i know to do, and i don’t follow fashion”
At the end of the 1980’s my experiments with aerosolized paint became the technique i called Colour Demolition, it was the Rorschach test, the inkblot test, as a child at infants school it was one of the first things i did with paint “making butterflies” pressing 2 pieces of paper to create a symmetrical image, this would stick in my mind and return to be a part of my painting technique. My experiments with Rorschach first took shape when i used tubed acrylic and gouache paint, applying it to acetate, the clear surface of the acetate allowed me to see the paint moving, and helped to guide me in creating a series of early impasto experiments. I had been looking at contemporary artists who were pushing the boundaries of applying paint on to surfaces, Callum Innes, Nicolas May and Ian McKeever, and looking back in time to Peter Kitchell, Georges Mathieu, and Claude Monet, especially in the period when his eyesight was failing him around 1922, these artists would influence my experiments with rorschach. When i moved my painting experiments to the large scale aerosol realm in 1989, a happy accident occurred, as part of the Blueprint Gallery in Selly Oak, Birmingham i was able to get paint donations from car paint manufacturers, mixed in with these donations were touch up paint Cellulose paint for touching up scratches, useless for walls, but a essential element for my painting experiments, applying the paint to acetate replicating my acrylic paint experiments. my first large format canvas with Rorschach was Summertime, it is still one of my favourite paintings, this and a variety of dripped painted works were exhibited at the first Graffiti Bastards Exhibition at the Custard Factory in Birmingham in 1996.
When i moved my painting experiments to the large scale aerosol realm in 1989, a happy accident occurred, as part of the Blueprint Gallery in Selly Oak, Birmingham i was able to get paint donations from car paint manufacturers, mixed in with these donations were touch up paint Cellulose paint for touching up scratches, useless for walls, but a essential element for my painting experiments, applying the paint to acetate replicating my acrylic paint experiments. my first large format canvas with Rorschach was Summertime, it is still one of my favourite paintings, this and a variety of dripped painted works were exhibited at the first Graffiti Bastards Exhibition at the Custard Factory in Birmingham in 1996. I then moves back to acetate, applying aerosol paint and raw cellulose to the surface mixing metallic and opaque car paint, raw cellulose has a very long drying time allowing me to repress add colours in areas, these small scale experiments continue today, the variety of artist specially paint Belton, loop, Montanna, Monster and Buntlack all using different chemical paint formulas and drying times are a challenge i cannot refuse, and with a growing range of paint which features water based acrylic aerosolised paint, manufactured by a variety of traditional artist paint companies, the landscape for experimentation continues to grows.
raw cellulose works
pressed colours
Summertime
rorschach acetate sketches
rorschach glass works
Coated Paper and Watercolour Paper
rorschach landscapes
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