SYSTEMS: New Works on Metal and Paper

We are becoming increasingly aware of the inter-connectedness of our universe. More and more we see that organic or technological elements seem to have a similarity and interdependence. Their basic forms are dictated by the same basic influences such as gravity, heat and light.  We see, for example, the same effect of gravity upon both the growth of a plant and the design of a bridge. On a more subtle level, there seems to be some kind of a connection between such seemingly dissimilar elements as the necessary length of piano strings, the form of cell and DNA growth, the ebb and flow of tidal movement, the seasonality of plant growth, the interweaving of electronic circuitry, the acceleration of falling objects, the relationships of colour and sound, and the patterns of wind-borne sand or dust. Even episodes in time often seem to be interdependent or related.

Humankind, nature and technology have often been portrayed as opposites in conflict with each other. Many events are given over to chance, chaos or accident. Is it chaos or chance? – or is it unrecognized order, unity and structure?

I have been considering these ideas and associated images for many years. These new works investigate these relationships I have considered, especially the interface between humans/technology and chance/order. These pieces observe how they interact and form the human condition and environment.

The pieces are the result of the actual images used and the means by which they are produced: human/chance (hand marks, accidental use of dusts and pigments) and technological (digital, silkscreen, cut and riveted aluminum).

Printmaking has usually been an (often) small image on paper, done with ink with paper as only the support. My purpose is to expand this so that the image is a result of the various materials used for printing, (no longer only ink) and that the support takes a more active part of the image making.

The surfaces of these works are developed by various combinations of digital, silkscreened, and hand-painted stenciled enamel – as well as pigments, mica and metallic dusts  - applied to either paper or riveted aluminum. The images combine urban, mechanical and landscape forms, geometric shapes and lines relating to human synapses and electronics, and the handmade marks and areas produced by the pigments etc.

Although it would be possible to edition the metal pieces in an assembly line manner of production (human as machine), I have chosen to make them only as single, unique works.  Perhaps in the future I will consider the implications and possibility of editions but, for now only the paper pieces are editioned.

My goal is to make works that will slowly, positively and profoundly resonate with the viewer and perhaps give a sense of the “allness at onceness” and the interconnection with all they can be seen but also with what can’t be seen.

I am very excited about this exhibition and the impact that it will have on each viewer. I am likewise excited about the direction of my future work. Though I have been exploring experimental printmaking for some time, this project is far in advance of what I have previously been able to consider. I believe it will have a profound impact not only on my own awareness and vision but also that of the viewers.

Reviews

Wayne Eastcott has concluded an apprenticeship of long-term proportions, and a mid-career interim which has included far-reaching influence through his teaching and sharing to take his place among the most fully advanced artists of this region. If the printed painting, especially noted in his more recent Karamon and Yomeimon Series, demonstrably establishes both the substantial mass and veracity of painting (while remaining eminently editionable), Eastcott has abundantly proven his point. Technology is not the bugaboo of artistic integrity: it can also facilitate utterance of the most meditative and profound levels of human experience.
From Orders of Appearance by Ted Lindberg, June 1991.

Other Reviews Include :

• Wayne Eastcott, Crown Printers, by Ann Rosenberg, Vanguard, Summer 1985.
• Xerox Pioneer A Master Printmaker, by Joyce Woods, Georgia Straight, April 1985.
• Part I: The Process, Technology and Imagination,
• Part II: The Images – Technology and Beauty,
• Part III: The New Prints – Technology and Art, by Arthur Perry, Vancouver Province Newspaper, February 1979.
• Exploring New Media – An Interview With Wayne Eastcott on Xerography by R.D. Smith, Art Magazine, 1974.
• Canadians You Should Know, Maclean’s, November 1969.