About

Gus Cummins

Born Bristol, 1966.

A lot of my art is based on geometry and musical harmony. Like instrumental music, geometry transcends language, and is able to speak to all people. It unites art and science, as in the work of the Renaissance scholars. The rules of pictorial composition and musical harmony can be cross applied, providing new solutions to old problems.

The Renaissance painters composed their images over intricate grids. The ratios and numbers were of great significance, a hidden level of meaning. Similar grids lie beneath icons. I strip away representation, and leave only the grid - like a dub producer stripping language away from a song, or an ancient Muslim artist discouraged from representing reality, because geometry was purer.

My use of colour is unusual among painters. Often my paintings only contain one, or maybe two colours. This is more typical of a printer's or calligrapher's work. The colour is very important to me, I obtain the best quality pigments, and experiment with transparent glazes over reflective layers.

Combining traditional and modern techniques I stretch canvases, and prepare them with rabbit size. I makes paint by grinding pigments and linseed oil together. Before applying paint to the canvas I build up texture and relief using gesso.

This is similar to intaglio or relief printing. The areas of relief have very precise edges. This is achieved by applying gesso through stencils, cut to shape using computer driven 'plotters', or cutting machines. I apply layers until satisfied, then score into the gesso with engravers tools.

The paint is finally applied using a device similar to a silkscreen printer's squeegee. The textures trap paint, as do the edges of the relief areas. Working quickly, a lot of concentration is required. The squeegee is drawn across the canvas in a precise straight line.

The canvases are large, and the work is difficult, so successful results are satisfying.

I know when a painting is complete because I feel complete. For me its a strangely selfless sensation - like looking at a beautiful product of nature. And I feel exhausted. The challenge of beginning the next composition is often daunting at this stage.

Luckily, the use of computer composition makes it easier to return to geometric notes, and continue with tangents from previous ideas. Soon the energy returns, and I rework themes and motifs.