On walls: Medium (size)
Protocol
1 27 portraits of my mother, 2013
acrylic on wood in acrylic frames (3 x (51 x 35 cm)); 3:51 video loop with sound; book (19 x 13 x 3cm)
27 portraits of my mother in different styles mimicking those of other artists were painted onto three boards. Each portrait was photographed. The digital images were made into a book. At intervals the painting over was filmed. The footage with studio sound is included in the video shown alongside
2 Offcut no.1, 2015
acrylic on acetate, floated mounted in box frame (34 x 102 cm)
A small fragment of a painting from Sarah Knill-Jones’s Procris and Cephalus-a case of mistaken identity series was enlarged 20 times using giant brushes onto acetate. This was trimmed to fit large X-ray boxes. This is one of the offcuts. It has become more and more important to me.
3 Compound Errors, 2013
acrylic on archival prints on Hahnemühle Bamboo Paper, framed (82 x 62 cm)
Prints of wool (suggestive of a large brushstrokes) were made using two different print settings. Each subsequent painted addition varies slightly from one to the other, exploring the myriad decision points in a painting. Both are failed attempts at reproducing the immediacy of a small study, since lost.
4 Dissection, 2015
acrylic on archival prints on Hahnemühle Bamboo Paper, framed (82 x 62 cm)
Two paintings on photographic prints of wool, each cut into 36 pieces are shown side by side. The first was painted by Sarah Knill-Jones to parameters set by Nina Rodin. The second painting was painted simultaneously by Nina Rodin. Initially made as studies for Second Derivative (6).
5 Curious Symptoms, 2015
acrylic on acetate on xray boxes with timer ( 2 x (95 x 56 cm))
Large reproduction of a fraction of a painting by another painter using very large brushes onto a transparent support. The painting is cut in two and mounted on old hospital X-ray boxes modified to turn on and off and flicker. The painting goes from being opaque and layered to thin and translucent.
6 Second Derivative, 2014
oil on canvas ( 4 x ( 100 x 140 cm)); acrylic on archival prints ( 2 x A3 ); video 10min54s (acrylic frame and ipad sold separately)
For the first pair of paintings, Sarah Knill-Jones was asked to copy and enlarge an excerpt of a small painting, itself generated for this purpose from imitations of abstract expressionist painters from the past. As she paints, identical brushes and paints are used to copy every gesture she makes in real time. For the second pair of paintings, roles are reversed.
7 Double Up, 2012
acrylic on board and archival print in box frame (59 x 47 cm)
A painting on board (itself a copy) was scanned. The painting is mounted next to an archival print of the painting and on top of an archival print of the empty scanner.
8 Out of context, 2012 - 2015 (on-going)
series of 4 framed photographic prints on somerset paper (34.5 x 42.5 cm), and one painting on gallery floor.
A painting, itself a copy of a fragment of a painting by someone else is taken out of the studio and photographed in context related to painting: in mud, in water, in snow and on the gallery floor. The series is on-going and in this case, site-specific.
9 Duplicata (Studio sink splash back), 2014
acrylic on archival prints on Hahnemühle Bamboo Paper, framed (82 x 62 cm)
Two paintings on photographic prints of a studio sink splash back. The first was painted by Nina Rodin imitating expressionist painters of the past. The second painting is by Sarah Knill-Jones. Initially made as studies for Second Derivative (6). All the photos in this series were chosen with subject matter relating to the physicality of paint.
acrylic on archival prints on Hahnemühle Bamboo Paper, framed (82 x 62 cm)
Two paintings on photographic prints of water stained mud wall. The first was painted by Nina Rodin imitating expressionist painters of the past. The second was painted simultaneously by Sarah Knill-Jones. Initially made as studies for Second Derivative (6). All the photos in this series were chosen with subject matter relating to the physicality of paint.
Title, year
(In collaboration with Sarah Knill-Jones)
(In collaboration with Sarah Knill-Jones)
(In collaboration with Sarah Knill-Jones) 10 Duplicata (Indian mud wall), 2014 (In collaboration with Sarah Knill-Jones)
11 Precarious, 2013
Detached acrylic on machined circular gesso board in circular perspex frame (99cm diameter)
A circular painting was detached from an inert support and loosely transferred to a smooth round surface of the same size. The imagery is taken from Déjà vu (14)
12 Duplicata (Porto Fish Market), 2014
acrylic on archival prints on Hahnemühle Bamboo Paper, framed (82 x 62 cm)
Two paintings on photographic prints of fish guts. The first was painted by Nina Rodin. The second painting is by Sarah KnillJones, imitating Nina Rodin. Initially made as studies for Second Derivative (6). All the photos in this series were chosen with subject matter relating to the physicality of paint.
acrylic on archival prints on Hahnemühle Bamboo Paper, framed (82 x 62 cm)
Two paintings on photographic prints of water flowing over a weir. The first was painted by Nina Rodin. The second painting is by Sarah Knill-Jones, imitating Nina Rodin. Initially made as studies for Second Derivative (6). All the photos in this series were chosen with subject matter relating to the physicality of paint.
acrylic on archival prints on Hahnemühle Bamboo Paper overlaid with printed tracing paper ( 2 x A3 ); video 10min54s (acrylic frame and ipad not included)
Documentation for Second Derivative (6 above). Original copies that the paintings were generated from. The video is more the final product than the paintings. Ideally it would be shown on a large screen on the wall with the paintings standing on the floor stacked against the wall.
15 Déjà vu, 2010 with new cover
Hand-made artist book with archival prints, acetate and machine-cut inserts. Artist’s own copy, printed version planned. (28.5 x 6.5 x 21.5 cm)
My reference book for painterly marks in the studio. Everything I paint is consciously taken from this book. It consists of 250 of the 2000+ ‘microscope slides’ that make up 2023 samples from 7 art colleges (28 below).
16 Punched and Painted, 2014
Hand-made artist book with individually painted postcards. Single Edition. (28 x 20 x 3 cm)
Postcards of classical paintings are sampled for a small area representative of the colour and mark of that painter. The rest is slowly covered in layers of grey gesso with a fine brush in a process that can take hours.
17 Circular samples from 25 consecutive paintings on one canvas, 2010
Acrylic on Canvas in perspex frame and acidfree mount.
The same canvas was painted 25 times in a row with abstract and representational paintings in different styles. A circular sample was taken each time before the next painting was added. In previous presentations, the 25 samples were shown simply stacked in a petri dish.
18 Circular Samples, 2013
Hand-made single edition artist book work with punched postcards. Two volumes in slipcase. (29 x 21.5 x 7 cm)
A single circular sample is taken from postcards of male painting ‘masters’ of the past. Each feels representative of the painting. The rest of the postcard is shown in the Appendix.
19 Fact and Fiction (1/4), 2013
Oil on canvas in perspex frame with acid-free mount. (65 x 100.7 x 55 cm)
Nicholas John Jones was invited to the Trelex Residency and painted a series of abstract paintings. I imitated every gesture from stretching the canvas, through priming and painting. The process was filmed (not shown). We only worked on the canvases when he felt the need. Thus one is a finished painting by NJJ, the other is not. The viewer is not told which is which.
Hand-made single edition artist book and box with acrylic on canvas inserts. Interleaved with archival glassine. (45.5 x 33.5 x 5 cm)
Sarah Knill Jones was asked to paint an abstract painting using gestures and marks from set of visual references consisting of excerpts from abstract expressionist painters. I copied her in real time. The canvases were each cut up into 32 pieces shown side by side on the 32 pages of this book.
(In collaboration with Sarah Knill-Jones) 13 Duplicata (Turbulent water and moss), 2014 (In collaboration with Sarah Knill-Jones) On tables: 14 Second Derivative (continued), 2014 (In collaboration with Sarah Knill-Jones)
(in collaboration with Nicholas John Jones) 20 Duplicata, 2015
21 Layers, 2015
Bookwork containing one box with an original painting and a 30 page book of archival prints. All hand-made by the artist. Single edition. (47 x 32.5 x 4.5 cm)
A small panel was painted repeatedly using a variety of marks and sometimes consciously imitating other painters. A little bit of the previous layer was always left visible. The panel was simply put in a scanner whenever it had changed significantly. The process was repeated until the stack of printouts was as thick as the painting.
22 Fact and Fiction (2/4), 2013
Oil on canvas in perspex frame with acid-free mount. (65 x 100.7 x 55 cm)
see Fact and Fiction (1/4) (18 above)
23 2012 labels (and some accidents), 2014
Single-edition bookwork: 5 volumes in slipcase containing watercolours on paper. (5.5 x 13.7 x 14 cm)
This is the last in a series of works using old-fashioned archive labels. Each of the 2012 is painted in a different colour. In this case, I accidentally damaged the painting so I damaged it some more and eventually cut it into square pieces which make up these 5 accordion books. The painting can be reconstituted by unfolding all the books.
24 Matter/Mater, 2012
Archival prints mounted in hand-made album. Edition of 5. (19.5 x 13.5 2.7 cm)
This book was made to accompany 27 portraits of my mother, (see 1) when it was first shown. The small size was meant to reference thumbnail images on websites.
25 1000 round drawings, 2013
Book work including screen with video and 1000 original drawings in clamshell box made by the artist. (41.5 x 47.5 x 8 cm)
I was curious as to how many round drawings I could make before running out of ideas. In the end I ran out of labels. I some ways each could have been a painting which is perhaps why I find it easier just to reproduce paintings or marks that already exist.
26 Fact and Fiction (3/4), 2013
Oil on canvas in perspex frame with acid-free mount. (70 x 110.5 x 5.7 cm)
see Fact and Fiction (1/4) (18 above)
Single-edition bookwork containing 10 volumes of acrylic on HahnemĂźhle Bamboo Paper. Interleaved with archival glassine. Screen printed text and covers. Hand-made by the artists. (28 x 31 x 24.5 cm)
This very large collaboration is Dennis de Caires' first. His interest lies in turning a painting into an edition of books, mine in the process of copying and cutting. We collaborated in producing 10 paintings: each gesture we added to the first had to repeated on all 10 paintings. After finishing the first 10, we turned them over on the floor and painted the back of them. Each painting was cut into 16 pieces so that each painting could become one book with 10 pages.
28 Intervention, 2011-2015
Archival prints with mixed-media on archival boards (6 x (47 x 66 cm))
Marks from the UCL Museum archive were sampled and printed, enlarged onto Somerset Velvet Paper. Members of the public and colleagues were asked to choose a mark from the past and add what they consider to be their own mark.
29 2023 samples from 7 art colleges, 2010
Size variable
A subset of more than 2000 microphotographic samples commissioned by University of the Arts London for their boardroom. See DĂŠjĂ vu (14 above). Some are marks found in the buildings, some are from finished art works.
(in collaboration with Nicholas John Jones)
(in collaboration with Nicholas John Jones) 27 Cut Paintings, 2014 (in collaboration with Dennis de Caires)
(Fact and Fiction 4/4 also exists but is not shown)
In corridor:
Nina Rodin www.ninarodin.com nina@ninarodin.com @ninarodin 00 41 789 22 72 48 (swiss number)