Dale Wilson

With my current working practice, I try to explore the uncertainties that exist within our relationships with objects and substance, and their existence within the world.
Using a range of media and processes such as found materials, modified audio equipment, trompe l’oeil, music theory, generative imagery and popular cultural references, I try to combine various elements that make up our perceptual language in order to explore the fragility in their status as separate elements.

Despite the combination of various elements, the work takes its initial point of departure from my interest in drawing, specifically the way that (a) drawing can act as a direct connection with thought and decision, thus acting as both implement and trace. The word ‘implement’ here refers to (a) drawing’s capacity for problem-solving and ‘working-out’, which is the rationale behind all my work, in whatever media becomes appropriate. The word ‘trace’ here refers to an interest in presence and duration, and the difficulty in trying to consider a drawing as an image for contemplation, a static object that exists in space, and a series of marks that describe its own production.

The friction between a singular, overall image and the multiple steps that create it is present in the regimented, generative imagery and calculated tessellating forms often used in my work, where there is often a relationship between a singular determining logic or system and multiple subjective, creative decisions. In the ‘drawings’, this friction between imagery and physicality is emphasised by the use of linear perspective, creating a dialectic of opposing forms of information – illusionary and spatial versus flat and magnetic.