Bill Riley, Never mind, 6-22 November 2015
6-22 NOVEMBER 2015
William (Bill) Riley's main research investigation is a study of painting as an object and in doing so questioning the value and relevance of that object as a contemporary art mechanism. This is an investigation thus far presented as Abstract paintings and related objects that predominantly reference Constructivist and Bauhaus politicisation.
Riley's body of abstract paintings and related objects are affected directly by the audience, placing an emphasis on individual interaction and interpretation. The artist often includes subtle political underpinnings that comment on the viewing experience and context, playing with the hierarchy of perception. For Riley the use of Utilitarian aesthetic or Anti aesthetic become working formats and models in which to investigate what a painting is, what it can be and what it can do beyond its current manifestation as commodity or decoration. Object for the artist encompasses an area of Formal investigation. Materials and processes can be seen, emphasising the objectification of a painting, they are at once, alternative construction methods and modes of content.
How a work is made is as important as how it is viewed. Riley investigates a range of areas including, the inherent seduction offered by painting; surface and surface qualities; recycled materials and recycled content; the construction of alternative modes of producing and viewing.