Hole Of Mirrors suggests a never ending illusion, or a shift in our perception of a known space.  In his new body of work, Matlok Griffiths offers us ten bronze paintings, accompanied by works on paper, that give us insight and access to his thoughts and processes as he expands and collapses ideas around painting.

These new forms, whose titles lead us through space and time, Days, Inner Heat, Sometimes I Wish I was The Mirror, Interior, Figure in Landscape, reflect the traditions and history of the medium of painting back to us, with playful, confident consideration. Griffiths presents in Blonky (Eight rectangles) a nod to history, and a reference to his thinking on spatial relationships, colours and forms.

Working in his chosen medium of bronze, Griffiths sees an opportunity for “leveling everything out”: tracing, doubling, copying, casting. Repeated gestures flow seamlessly between bronze and works on paper. Using painting as his source, he invites us to participate in the deconstruction of the works: close up the dense, physical surfaces are both soft and hard, and stepping back, the openness of the overall abstraction opens up.

All that has come before, all that remains: no stretcher, no canvas, and no paint.  In casting his encaustic paintings using centuries old techniques, the original assemblage is destroyed, transformed into something new, and made permanent. What remains is a set of sculptural ideas, and representations of painting.