IAN PETER WESTON
Ian Peter Weston’s current practice builds upon a broader interest in painting in which materiality and thickness have become privileged components. In particular, the place of the support is elevated from that of being simply a given – as something flat and stable upon which to deposit paint. Rather, for Weston the support, which he has termed the ‘substrate’, occupies a position open to continual re-invention, particularly in response to the remembered events of a past life.
In symbiosis with a specific painterly rhetoric, such a constructed substrate produces a range of complex topographies, and in this sense the painting may then be understood as being folded around itself. Weston’s intentions here are to encourage an observer to move around the work so as to become aware of a continuous play of specular reflections and parallax effects. Through this revealing of the substrate, as something unseen and yet visible, it is intended that particular recognition may take place. Weston locates his practice within the peculiarly French concept of the ‘tableau’, described by Stephen Melville as something which is outside of painting but which sets the condition for a painting, such as a gap, or a cut, or a fold. Yet for Weston there is no doubt that these elements of the substrate are actually right there – within the heart of painting.