This month dot-art speaks to artist Anthony Gribbin.
Anthony Gribbin has exhibited in mixed shows on a regular basis with National Society for Education in Art and Design, National Acrylic Painters’ Association and Bridewell Studios in nationwide venues with the much recognition.
The current cycle of paintings concerns itself with layers and planes, revealed and hidden, passing fore and aft. Layers invite us to look closer as the various elements play with and contradict our notions of depth and surface plane. What was on top passes behind, unexpectedly, whether in strictly geometric and structured layers or as if veiled and curtained another layer, sometimes to reveal more.
How would you describe your style?
I describe my work as Geometric Abstraction, hard edge and precise.
Can you talk us through your process?
There are different approaches. Pencil sketches or marker pen drawings explore possible images and visual constructions. Shapes and/or lines twist through each other. Paint is applied with wide brushes for the first surface before intricate lines are painted with precision with any edges being carefully created.
Sketches or finished drawings on a small scale provide the starting point almost through to a completed design. Once the painting process on prepared canvas is scaled up and paint applied, then the design is to some extent modified and added to intuitively as required. Several sketches or designs are developed on a small scale and when once chosen a painting is created in a step by step process.
A section or linear part of the design can be completed one step at a time so that it can be constructed over a period of days or weeks depending on the demands of everyday life. I don’t usually log time spent in the studio though it may be something to consider.
The finished product is decided in one or two ways. Either a complete rendition of a drawing or design or equally, when working intuitively, when a point is reached to my satisfaction. Occasionally a piece may be reworked or added to at a much later date.
When did you begin your career in art?
Having a compulsion for observation drawing from early years, my professional approach to a considered form of painting follows on from beginning a formal Art School education in 1969 and graduating with a Degree in Fine Art in 1973.
Why is art and creativity so important to you?
Along with many practising/professional artists I worked in Education, being a Head of Faculty of Expressive and Performing Arts and Visual and Performing Arts in Cheshire.
Needless to say, seeing the development and enabling creativity amongst young students brought great personal and professional satisfaction. As a champion of creativity in this career, I always emphasized how important a contribution the creative sector made, not only to individual cultural development but also to the national economy as a whole.
What are you working on at the moment?
observation but rendered in a strong Graphic style. I am currently working on further explorations using shaped canvases and exploring the interplay between hard edge precision and poured, liquid paint.
What does it mean to be an artist in the Liverpool City Region?
Liverpool has a long history of supporting and developing the Arts, culminating in the 2008 City of Culture. Recognising this achievement it is great to be, in a small part, contributing to this tradition by being involved with dot-art.
What was the best advice given to you as an artist?
The best advice given to me was to have self-belief and to pursue your own route. I believe Abstract pieces which are unique and exist as objects can be something novel and intriguing.
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