Jack Brindley

Silicone Paintings (Print Removal)

2012-02-10T00:30:00.006Z

Silicone Paintings (Print Removal),
Silicone on canvas, 50x75cm each, 2012

Diagram Construction II

2012-02-04T14:00:00.002Z

Diagram Construction II,

Steel, wood, oil paint, OSB board, A1 poster, 2012

Grout Painting, (position and production)

2012-01-31T22:29:00.001Z

Grout Painting, (position and production),
Acrylic, Grout on canvas, A1 photocopy print, gaffa-tape, 50x75cm each, 2012

Diagram Construction

2012-01-31T22:21:00.000Z

Diagram Construction,

Steel, wood, oil paint, grout, paper, tarpaulin, 2012

Studio Painting (January, 2012)

2012-01-31T22:03:00.000Z

Studio Painting (January, 2012),
Studio detritus, Oil on canvas, 2012

Until Further Notice

2012-01-31T21:58:00.001Z

Until Further Notice,

Acrylic & Oil on canvas, 120x150 cm, 2012

Use Value (Wrap)

2012-01-25T00:46:00.000Z

Use Value (Wrap)

Concrete, plastic wrap, screen print of gaffa tape, 46x68 cm, 2012

Tarpaulin Painting & Vitrine (Diagram of a gesture)

2012-01-20T23:08:00.002Z

Vitrine (Diagram of a gesture),

Concrete, steel, glass, ink-jet print, 120x60x48 cm, 2011

Tarpaulin Painting,

Acrylic & Oil on canvas, 120x150 cm, 2011

Tarpaulin Painting

2012-01-20T23:04:00.001Z

Tarpaulin Painting,

Acrylic & Oil on canvas, 120x150 cm, 2011

Grout Paintings

2012-01-11T12:31:00.002Z

Grout Painting

Acrylic, grout on canvas, 29x36 cm, 2011

Grout Painting

Acrylic, grout on canvas, 29x36 cm, 2011

Mirror Stages

2012-01-11T11:30:00.001Z

Mirror Stages

Oil on canvas, steel, 29x36 cm each, 2011

Tarpaulin Painting

2011-12-16T14:03:00.000Z

Tarpaulin Painting, 40x47 cm

Oil on canvas, steel

Tarpaulin Painting

2011-12-12T23:04:00.002Z

Tarpaulin Painting

Oil, acrylic, varnish on canvas, 40x47cm, 2011

Interstice (Modes of Production)

2011-12-12T22:56:00.002Z

Interstice (Modes of Production)

Ink-Jet Print, Gaffa-tape, Cement, 46x68 cm, 2011

Last Day Today

2011-12-12T22:52:00.000Z

Last Day Today

Oil, Glass, Steel, 42x59cm 2011

Use Value (Lacking a Verb)

2011-12-06T23:13:00.000Z

Use Value (Lacking a Verb)
46x68 cm, Cement, Tarpaulin, 2011

Use Value (A Triptych)

2011-12-06T00:02:00.001Z

Use Value (A Triptych)
Oil paint, tiles, grout, concrete, tarpaulin, 64x100cm, 2011

Fact of the Matter (All that Glitters)

2011-12-05T23:44:00.001Z

Fact of the Matter (All that Glitters),
Oil paint, canvas, gaffa-tape, foil. 29x36cm, 2011

Interstice (Modes of Production)

2011-12-05T23:33:00.001Z

Interstice (Modes of Production)
Photographic print, Screen print, gaffa-tape, 2011

Fact of the Matter

2011-12-05T23:24:00.001Z

Fact of the Matter
Oil paint, canvas, steel, tarpaulin, 29x36cm, 2011

Found Paintings

2011-11-07T20:31:00.002Z

Found Paintings - 2011 - Ongoing

More images of the project can be found here - Found Paintings

Peripheral Trajectories

2011-10-23T10:39:00.001+01:00

Protecting the Periphery - 2011
photographs taken facing away from the London Olympic Site.

Site (Construction) Non-Site. continued

2011-10-21T11:47:00.002+01:00

Site (Construction) Non-Site, 2011

Dimensions Variable, Shuttering Ply, Timber, Glass, Concrete, Emulsion, Anti-Vandalism Paint.

Site (Construction) Non-Site

2011-10-13T23:19:00.001+01:00

Site (Construction) Non-Site, 2011
61x61cm (Timber, Emulsion)

Surface. Anti-Surface

2011-10-13T22:54:00.000+01:00

Surface. Anti-Surface. 2011
(18x26cm each, Anti-vandalism paint, OSB board)

Architectural Volumes - National Theatre

2011-09-11T10:38:00.001+01:00

Architectural Volumes - National Theatre. 2011

(24x35 cm, Oil on boards, shuttering ply, and cement)

All Sweet and Honeycombed

2011-09-09T11:32:00.000+01:00

All Sweet and Honeycombed - 2011
(44x74 cm) Ettienne Louis Boullee Print, Two sheets of glass, Cement

Back Stage Room - II

2011-08-29T20:12:00.001+01:00

Dimensions Variable - 2011
(Timber reclaimed from Zoo Art Fair 2009, jesmonite, ply-wood, collage)

Dimensions Variable - 2011
(Timber reclaimed from Zoo Art Fair 2009, photographs, 4 sheets of glass, packaging tape)

Back Stage Room

2011-08-28T11:55:00.000+01:00

Architectural Fragments - Publication

2011-08-21T18:23:00.000+01:00

Printed for 'Architectural Fragments - There are two types of clarity' at Apiary Studios with the kind help of White Room Press. Limited edition of 200, there are a few remaining please contact me if you would like one posted to you.

Building, Thinking - Dwelling

2011-07-16T15:59:00.003+01:00

Dimensions Variable - Found wooden crates, screws

In Heidiggers essay 'Building Dwelling and Thinking' he stipulated that to dwell is to cultivate a relationship with your surrounding.

Large communal concourse type areas that often have no seating have become a

dumping ground for communal waste. I am interested in looking at how these spaces

can be re-activated, by using the detritus that is left in them. In a recent work I found two

discarded wooden pallets in a housing estate (which has recently had its benches

removed to discourage loitering). I made the crates into four chairs and a table before

returning them to the same spot where I found them. I think that it is interesting to use

materials and areas that have fallen out of the system of the city and to re-evaluate them to give them a value and position back into society.

Although I don’t specifically claim for these works to transform their context I think it is interesting to develop ideas of value and of ‘place’ to these nondescript, disrespected areas. My aim is to provide a construct whereby an organic relationship to the space can be prompted.

The Glass - The Grey Cloth

2011-06-27T11:03:00.000+01:00

The Glass - The Grey Cloth, 2011

65x40 cm (glass, paper collage, oil paint, canvas key, timber)

Subordinate to form

2011-06-19T14:01:00.000+01:00

2011, Mixed media.

Images of the Barbican Center set into concrete, Plywood painted with 'Stone-effect' paint, and found objects.

Im interested in the chaos of materials and objects scattered around the streets. Solely existing in the periphery of our vision the street rubbish exist almost outside of the cultivated space of the city. By collecting unwanted objects is, in a way a survey and an attempt map of the area.

Perhaps by re-activating them though art they can be moved back into the system of the city and become celebrated.

Peripheral Contingency - One Size Fits All

2011-06-17T22:48:00.000+01:00

Painting - Oil on board 23x36cm, Sandpaper

The fact is, there are two kinds of clarity

2011-06-05T12:43:00.002+01:00

Untitled - 24x36cm, Oil paint, timber

Horizons - When buildings cast the shadow of their own destruction.

2011-06-05T12:05:00.001+01:00

A4 Photocopy, cut into plaster board.

"When buildings cast the shadow of their own destruction

Architecture is not only concerned with physical space. Buildings can express ideologies and shape social life." - Kasia Redzisz

A horizon line is a transient and immaterial construct, changing alongside both spatial and temporal perspectives.

Bunkers

2011-05-16T11:14:00.001+01:00

Ilse of Sheppey - 2011

Leaning and framing

2011-05-04T09:51:00.000+01:00

Plywood, glass, A4 photocopy, stretcher key. 60x85cm

2011

A structural enquiry

2011-05-01T21:47:00.001+01:00

A4 photocopy, Pine timber

New work and thoughts on leaning

2011-04-11T11:46:00.002+01:00

A2 photocopy, Acrylic, Timber

Displaced Phantoms

2011-03-26T14:21:00.003Z

Collage, A4 photocopy, black paper. 2011

'empty space creates a richly filled time'

Architectural Volumes - Constellation II

2011-03-07T16:25:00.001Z

"Architectural models convey an ambivalent status oscillating between process and form, between conceptualization and contextualization" - Nikolaus Hirsch

This continued body of work presents a collection of paintings, drawings, photographs, small models and research as a platform of question raising and ambivalence. The architectural model acts neither as an adequate proposal for space nor as a space its self. It functions as a reference to an ideology.

In a similar way a building is a physical manifestation of an idea. It is a playing out of an architects social solution. The role and life of a building alters as time passes and it is in-habited, therefore its responsibility is not fixed. This body of work should be viewed as a series of proposals and references.

Architectural Volumes - Collage

2011-02-13T21:29:00.001Z

'An Aesthetic of Broken Forms' - 33x48cm

Collage of photocopied photographs of Denys Lasdun's National Theater (London)

Lasdun's Phantom

2011-01-24T12:07:00.001Z

50x35 cm, Oil on Board

Front view of the National Theatre, part of an on going series painted in increasingly darker shades of black.

Paintings on canvas, polystyrene, cement

Roads Ministry Tbilisi

2011-01-10T12:26:00.001Z

Roads Ministry Tbilisi 25 x 35 Pixels - (pencil on paper, 28x38cm)

Roads Ministry Tbilisi 100 x 120 Pixels - (pencil on paper, 56x75cm)

Architectural Volumes (continued)

2010-12-30T12:11:00.002Z

"Architecture is the simplest means of articulating time and space, of modulating reality, or engendering dreams." - Ivan Chtcheglov

Function is far to simple of a solution for space, it assumes a finite limit to its usage. Below are sketeches of proposed volumes which intend to step away from wholly functional urban architectural design.

Architectural Volumes

2010-12-17T23:31:00.001Z

A model for Proposal - Barbican Centre, Trellick Tower

Cloud-Irons

2010-12-12T12:42:00.001Z

Wolkenbügel or 'Cloud-Irons', were horizontal skyscrapers proposed by El Lissitzky (A Russian artist, architect and typographer) in the 1920's. They were to be built at major intersections of the Boulevard Ring in Moscow. Each Wolkenbügel was a 180-meter-wide slab raised 50 meters above street level. Lissitzky's rational was that as long as humans cannot fly, moving horizontally is natural and vertical is not.

Although argued to have superior insulation and ventilation than regular 'American-styled' towers the Wolkenbügel were too drastic of a project to be built.

The above pencil drawing is made of 3,000 pixels. Displaying a compromise of visual information in a gridded format.

Happy Hour Drive

2010-12-11T09:46:00.001Z

or - The California City Optimists Club.

California City was designed to become the capital for California in the 1960's by sociologist Nat Mendelsohn however only a fraction of the development was actually built. Although a few residents actually live in the city in a way its become a haunting reminder of failed Utopias.

Amazingly what was constructed were miles upon miles of roads, residential crescents and avenues, which still lie on the deserts surface. All named, yet vacant. The City is made up from just roads and dust.
It looks incredible from google maps.