Sophie Timmo

When we strip a painting down to its purest form, we get information. Visual information of a woman draped in silk, of colours' interaction, of the travesty of war. It’s the labour of working through ourselves and the world, and if mathematics does the same - claimed as the universal language - visualising and making sense of our universe, probability and change. What stops a painting from spreading past its limits of pigment on substrate?

I'm drawn to challenging what painting is through systematic means. When a painting becomes an object of representation, all it is is the information it holds through the process by which it was made. These multiple works act as two representations of the same dimensions, compositions and colours, through both traditional painting and mathematical functions.

But even when these works sit in space, there's no expectation to believe in them as paintings. This body does not exist without an audience, without perception. So, question these paintings; disagree or agree because whatever you decide, it is, in every which way...