My work can be described as wall relief sculptures since from the 60s, they have always been three-dimensional in some sense. Still I describe them as paintings since they are constructed of painted, shaped fabric and designed to hang on the wall.
One concept that I endeavor to present with my shaped canvasses is the inclusion of an illusory space together with the actual space so that the viewer perceives an interaction between the two.
The paintings are a metaphor for the idea that in the cosmos, the gravitational field of objects alters the shape of the space through which they move. The theory of relativity comes into play in that while the paintings are not themselves moving, the images that they present change with the motion of the line of sight of the viewer passing by. Further, the shapes perceived by the viewer shift with the shadows resulting from the diurnal light as the sun proceeds from east to west.
During the 90s, I incorporated a synthetic fabric as a field on which a three-dimensional element was mounted. These elements are constructed of wood faced with the fabric and then painted. The field, also painted, is porous, so that the illumination on its surface penetrates the gauzy fabric and is reflected back from the wall beneath.
On Earth a similar effect can sometimes be observed at sunset. As the sun goes down in the west, a glow can be seen low on the eastern horizon. This is due to the reflection of the setting sun on the trail of dust particles following the Earth as it travels through space. This phenomenon is known as “gegenschein,” or counterglow.
Whatever my approach to the images that fascinate me, the common factor in each is the play of the light involved and the shadows that result—sometimes on a double curved surface, sometimes within a surface. The possibilities are boundless.
contact & information
more information about the artist
email Charles Hinman