Peter Symons  

Symons’ work involves capturing the moving image from his film installations as they are projected directly onto the 2D surface in his studio.

Working in the dark (apart from the actual projector) he captures the continuous movement of the film and then with the projector off and the studio lights on Symons manipulates the surface to further suggest the multiple ‘privileged instances’ (Deleuze 1986); two of the moving images within the one static moment.

The layering in the moving image installation is resonant in the paintings, this is created partly by the application of layers of translucent oil paint or, in the paper works, glue-soaked Japanese calligraphy paper. Both these processes lead to the capture of the sense of time and layering of imagery found in the film-based installations. The two dimensional works distil the temporal and spatial concerns of the filmic installations, not to mention the original topographical sources, into a single multi-layered image.

Symons explores the capacity of materials to change or to be changed and works within the unpredictability of those materials and surfaces through reflective experimentation.