This site is meant to give an overview of my work over the last 45 years and also serves as a digital archive. Whilst it is not a complete, comprehensive record of my work – more an overview – I attempt to update it as regularly as I can.
Recently, interest has been show in the work of the Electric Colour Company (myself, Rod Stokes, David Smith and Jeffery Pine) who worked as a 3D design team from 1969 to 1973 (approx) so Ben Evans of <hazardmedia.com> has constructed a separate web site to cover the work of this period. http://hazardmedia.com/colourcompany/
Having originally studied painting I have spent most of my time making 3D work in the conventional sense of individual objects or groups of objects, as pieces to be photographed, actual installations or, for the last eighteen years, virtual objects. These works take the form of 3D abstract animated movies and prints. This digital work concentrates on making non-narrative animated time-based images which are to be shown in dedicated art spaces or festivals. I was recently an international guest at a Digital Arts Festival in New York.
I’m just completing a complete edition of the Moving pieces on Blu-ray DVD which means that for the first time they can be owned and viewed on a reliable system without their appearance being compromised by compression.
My work can be found in various private collections throughout the world.
A bit about the CRUCIFORM IMAGES: The “X” form which occurred in my work for just under 20 years had no connection with religion. The form itself, appeared to me, to be one of the most stable artifacts I could use which encompassed but did not encase space within it’s visual influence. This skeletal structure allowed me to impose upon it various visual guises which changed its appearance without loosing it’s intrinsic stability – why I felt the need for this subjective stability is still a mystery to me. At various times its use has almost been a cliche but this aspect appealed to me and made it an even more attractive. The form also appears when academics and analysts of pictorial work seek to demonstrate the latent, underlying structures within the work.
NB. use your browsers back button to return to main site after playing movie samples also to move and page back. Let me know if you find any faults in the working of the site – thanks.
A special thanks to Prisca Schmarsow < firstname.lastname@example.org > for hosting and supporting this site over these years.
Andrew Greaves July 2012