Configuring Escutcheon (2014-6)

The paintings below are the first series of paintings as research into the heraldic forms of escutcheon. Eschutcheon are (formal) containers for symbolism and heritage statements, and these paintings aim to exploit the flexiblity in this form. The paintings focus on the parallax of form and function. There is an interior and an exterior, both of which oscillate between form and function as the paintings are viewed. When the treatment of thier ‘interior’ appears formal, the exterior appears functional, and vice-versa.



These paintings intentionally employ a very free association with the standard heraldic form of escutcheon, in order to ascertain how far these standardized forms can be abstracted before they dissipate.

These paintings aim to exploit the interstice between character-based representation and flat abstraction. The paintings take on bodily forms that are neither specific nor interntional, but rather a by-prouct of the heraldic form, which itself is invested with an embodiment. 

The history of escutcheon displays a wide variety in the types of forms, their usage and innovation. They are used both alone or highly adorned; they can support mythical creates as naturally as abstract color fields that represent a person, family, city or country. With this series of paintings, I am  producing motifs, approaches and scale of the subsequent painting series Invented Glyphs and Repurposing Glyphs.