Clinton Phillips’ background as a filmmaker and television producer has honed his technique of pastiche where ‘visual bundles’, collections of significant moments, are translated onto flat planes. A similar translation occurs in his realisation of sculptures and 3-dimensional installations from 2-dimensional topographical drawings and schemata. Drawing sits at the foundation of Phillips’ practice as an artist. Maps, cellular structures and found imagery are reworked into layered drawings, which are then crafted out of wood, cardboard, polystyrene, and other everyday packaging materials.
Often referencing iconic works such as: Duchamp’s readymadesand Damien Hirst’s, The Physical Impossibility of Death in the Mind of Someone Living, the silhouettes and contours of Phillip’s appropriated versions are instantly recognizable, even in their supremely pared down form. Like a 3-D Gary Hume, Phillips reveals the phenomena of an age steeped in mass-produced knowledge and shared signifiers.
In Clinton Phillips’ latest work, he has begun an investigation into the meaning of ‘fours’ in nature: the seasons, the cellular process of meiosis, cardinal directions, elements. Again, drawing is utilized as a tool to begin an intricate layering process, until the sketches and notations are crunched into one loaded bundle of information.
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