Connor Addison - Artist, Homepage

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Mark LOREM IPSUM
Connor Addison - Body of Works



                                   

Body of Works




Connor Addison - As Above So Below -----

Sublime Affliction



2012 - 2019
Whatever is in any sort terrible or operates in a manner analogous to terror, is a source of the sublime; that is, it is productive of the strongest emotion which the mind is capable of feeling.
Edmund Burke


Sketch for the ‘Fall of Freewill’
2018








Innocence Lost



2020

Innocence Lost, 2020, Oil on linen,
172 x 94cm
















Objects of Desire



2016
Sublimity comes from somewhere beyond, or deeper than immediate sensation - it cannot be literally visualised. Thus, figures in the Sublime Affliction series interact with mysterious overbearing entities, sources of sublime power, fear and anxiety.

Like other paintings, this artwork features the interior spaces of an art gallery and other artists work, in this case the Barcelona Museum of Contemporary Art (MACBA) and part of ‘Objects of Desire’ by Laurence Weiner.

Objects of Desire (After Laurence Weiner), 2016, Oil on linen,
196 x 196cm












Oil Painting Detail, Reclining figure, Objects of Desire





The Fall of Freewill



2018
‘The Fall of Freewill’ investigates our sense of freedom and the anxiety it produces.

When we consider our potential decisions, their possible outcomes stretch into the future as endless causal chains of events for which you are responsible. This causes us to recoil in terror, at the sublime power of infinite possibility, our persistent responsibility and ultimate freedom.

Confronted with this terror we either take a leap of faith with our decisions or fall into despair, usually by looking to relinquish our freedom and responsibility onto others, society and physical world.

 The Fall of Freewill, 2018, Oil on linen,
100 x 77cm












Untitled
(Reina Sofía, after Richard Serra)



2019
Just like church was once a place to find God’s sublime power, in a more secular society art allows us to face death, our own insignificance and freedom, arts ability to evoke something greater grants us access to the sublime.

The two figures represented in the painting ‘Untitled (Reina Sofía, after Richard Serra)’ are, in some-sense, portraits of visitors to art galleries seeking emotional responses to the sublime in secular society.

Untitled (Reina Sofía, After Richard Serra), 2019, Oil on linen,
100 x 81cm












Luke I 
Luke II



2014 - 2016
Paintings often feature loved ones.

Despite Art, the vastness of the universe and death being sources of sublime affliction, people themselves also embody and evoke sublimity. Friends and family are not forgotten for complexity and how they inspire respect and admiration.

Luke I,  2014, Oil on linen,
50 x 70cm













Luke II, (After Yves Klein),
2016, Oil on linen, 50 x 70cm











Brother & Sally



2012 
Love can unearth some of the most powerful feeling and emotions we know, it glues people together and drives purpose.

It inspires intimacy, warmth, tenderness.
Passion. It inspires obsession, wrath and violence.

At all levels of society love operates with unimaginable depth and mystery, its vastness sublime.  

Brother & Sally, 2012, Oil on linen
140 x 100cm












Callum I



2014 
The sublime reminds us of the unfathomable, immense and invisible.

Because the sublime makes us aware of the intensity of reality it causes a triumphant terror, our existential scream.


Callum I, 2014, Oil on linen,
100 x 67cm













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As Above So Below



2012 - 2019
The passion caused by the great and the sublime in nature is Astonishment; and astonishment is that state of the soul, in which all its motions are suspended, with some degree of horror.
Edmund Burke

Below
Selection of images from Google Earth
2019


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Canada Geese,  Canada



2019
Taking 8 months to complete, this drawing is a meditation on patience. Depicted are thousands of Canada Geese in midflight. My work highlights the natural world as something which manifests in an abstract and intricate way. As something too complex to take in, something sublime.

Normally we look to art as a way to escape reality and indulge in fantasy worlds, I prefer to face a mirror to the inexhaustible beauty of the world around us. So we can take with us an eye to appreciate what was already there.

Canada Geese, Canada, 2019, Pencil drawing, 
42.5cm x 27.5cm
  From the Meso series











Detail of ‘Canada Geese, Canada’










Waterfall Foam, Lübeck,
Germany



2019
These artworks make up the Meso series, part of The As Above So Below project. It comes from an interest in the mathematical order that hides behind how the universe appears, from the microscopic to the macroscopic. 

‘Waterfall Foam’ could as easily be of a weather system as it is of waterfall foam on the surface of a river.

For me there appears some recurrent pattern that defines the way everything manifests. My work seeks to present these sometimes abstact moments of largescale complextiy as something sublime in its every detail.  

Waterfall Foam, Lübeck, Germany, 2019,Pencil drawing,
42.5cm x 27.5cm
From the Meso Series






Pencil Drawing, Waterfall Foam, Lübeck © Connor Addison





Landmark, Hong Kong



2012
It is presumptuous to think creations of human kind are not part of the natural world whilst we contine to count beehives, birds nests and beaver dams as purely organic. The only difference is in its complexity. 

Landmark, Hong Kong, 2012, Oil on Linen,
200 x 300cm.
From the Meso Series






Oil Painting, Landmark, Hong Kong, © Connor Addison





Cacti, Parc Güell, Barcelona



2018

Cacti, Parc Güell, Barcelona. 2018,  Pencil drawing,
21 x 30cm. 
From the Meso Series













About the Project:
As Above So Below



2012 - 2019
Meso is one series in the three part project: As Above So Below. It comes from an interest in the unknowable mathematics that hides behind the visual presentation of the universe: from the microscopic world, to the planets surface seen from space. There appears an incomphensible   pattern to existance, recurrent in everything that exits.

This order defines our experience of everyday reality, even if we are unaware of what makes up its structure. The Fibonacci spiral determines the shape of galaxies, the pattern of sunflowers and even the dimensions of a spiral in DNA’s double helix. The golden ratio appears in the orthodontic definition for perfect teeth, the spacing of an ant’s body segments and the Pyramids of Giza. Fractals and Chaos Theory explain the similarities of shape between rivers, lightning, tree branches, and veins in the body.

It seems that the world around us speaks a mathematical language that despite cultural context people are familiar with as a universal cannon of beauty.

Emergent is a universal consistency of pattern between the micro, meso and macro: A sublime order.


Below:
Examples of Macro, Meso, Micro scales of pattern













If you are interested in purchasing an artwork contact me here
Thank you for taking the time to look ❤️️

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-----Connor Addison - Artist, Photography

Tautological

(Purported Tautology)


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purport
Verb

Appear to be or do something, especially falsely. “She is not the person she purports to be”
tautology

noun

The saying of the same thing twice over in different words [or forms], generally considered to be a fault of style.







 





2014 - 2019
In ‘Purported Tautology’ all artworks are photos of images or photos of video. This series investigates the medium of photography as an imperfect tool for duplicating reality. The photograph removes context, sound and movement which, in addition to the camera’s mechanics: it’s blur, aperture and shutter speed etc. causes truth to be lost in the process.

Photos become mutations of the reality they purport to archive and, through the continual recycling of 

the same image, it fades, evolves and re-expresses itself into falsehoods, ambiguity or nothingness. 

Like this, photography is akin to the process of painting, except that we put trust in photography for its accuracy. In an era of digital manipulation, staged photography and the stitching of verbal deception to images, photography can masquerade as truth; something which reveals the same thing as the reality it captures. Often it is just a vehicle of false and fading memory.




All artworks are captured on 35mm film.








            















  








 












 



















 

‘Ecstasy’
2018, 35mm film


‘Gaze’
2017, 35mm film


‘Untitled’
2015, 35mm film


‘Bathroom waiting’
2017, 35mm film


‘Love’
2019, 35mm film

‘Wading Away’
2019, 35mm film


‘Lost Child’
2016, 35mm film


‘Defense’
2016, 35mm film


‘Indian Women on the Move’
2017, 35mm film



‘Rupert Murdoch’
2014, 35mm film



‘Anna K’
2014, 35mm film




       
Photography Index >
   

If you are interested in purchasing an artwork contact me here
Thank you for taking the time to look ❤️️

︎


   
Mark
Connor Addison - Towards Towers

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Towards Towers


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2016
Photography has had to fight to be accepted as Fine Art for more than 100 years.

On one side photography documents events and places in time, historical events, holidays etc. so is not a medium of art but a tool to record and report on reality. On the other side, photography sometimes becomes art by using experimental techniques (collage, blur, post-processing, chemical intervention etc.) but these methods utilise the techniques of painting, so are not photographically ‘pure’ to its own photographic medium.

With this dilemma, can photography become Art and not merely documentation or painterly image?

This is the question to which ‘Towards Towers,’ ‘Aloe’ and ‘Meso’ responds. My belief is that ‘pure’ photography is a search for naturally occurring art. The interactions of objects, light and shape can create dormant artworks waiting to be framed within the definitive frame of a photograph. In my work I attempt to guide attention towards the aesthetic order of the world around us.




All artworks are captured on 35mm film.












Like this photography is the act of curating the world around me with emphasis on the artistic principles of form, balance, tone, space and texture. In this way, without attempting to document or use the techniques of painting, they become ‘pure’ photographic artworks. Celebrations of how the of the world around us exhibits formal aesthetic qualities so pleasing to the eye. 

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‘Stairs’
2016, 35mm film


‘Gas Silo’
2016, 35mm film


‘Three Towers’
2016, 35mm film


‘Three Palms’
2016, 35mm film
‘Light Masts’
2016, 35mm film


‘Wedding Day’
2016, 35mm film


‘Shadow Stripes’
2016, 35mm film


‘ Towering Tall ’
2016, 35mm film







Photography Index >



If you are interested in purchasing an artwork contact me here
Thank you for taking the time to look ❤️️

︎



Mark