I am pleased to be presenting a paper at the John Berger Now conference at Canterbury Christ Church University, September 11th-13th 2017.
Whatever subject, motif, intention, McKenzie leans towards being a history painter born in Scotland, a root which he intensely identifies with as if it were palpably one living organism akin to a family. With few exceptions, McKenzie frames and re-frames a memory kernel by abstract right angled areas, or by parallel brushstrokes so dry as to almost evaporate (History Painting) around a biomorphic, decidedly not isomorphic, floating irregular shape. That is an exception though. The most severe case of importance of framing is the largest of the exhibits, Set for Painting ( Quad) due to the addition of wooden frame and a separate cover of the painting’s dorso, covering another painting, invisible to the viewer. A slight imprint of a rectangle in its top area is a sign of a possible presence, an the empty…
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Below is a link to ‘Painting as Research’, a power point presentation given at Ulster University, December 2016 which discusses the chaos, wonder and incoherence at the heart of painting processes.
‘the wrong boy’ 52 x 72 cm, oil on canvas 2016, Louise Wallace