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Fuel From Fumes

RUN #:00297
Type:Archival Pigment Print on 330gsm Fine Art Paper
Size:24 x 24 Inches
Release:June 25, 2013
Run of:50
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The framing option for this RUN includes a .75" Black Frame with UV glass, archival foamcore backing and ready to hang hardware.



Most recently, Mr. Jago has taken the idioms of spray painting to a level of sophistication rarely seen in the medium, completely uninhibited by any notions of what spray painting is, or should be. His work is the result of a stream-of-consciousness approach, where meaning presents itself through process. One might well use the phrase abstract expressionism, since form and structure have undergone a process of abstraction, whilst primarily being emotionally expressive. It is both formally organised and balanced, as well as spontaneous and visceral. Read on below as Mr. Jago tells us about his 1xRUN Debut "Fuel from Fumes".

"The client by whom the piece was commissioned specifically requested a painting on a black background. That request proved challenging to the way I try to balance colours and marks. I also find composition on a square canvas more difficult than working in landscape on a rectangular canvas. Given these challenges, I was very pleased with the outcome of this piece. On the one hand, this piece laments the consumption of fossil fuels by the human race. Wastefulness, in a sense, is one of my preoccupations - fuel to my artistic output, however negative. On the other hand, the painting also imagines the possibility of being able to transform fumes into something useful - a fantasy of being able to refuel from what is in the ether. " - Mr. Jago

This RUN comes signed, numbered and with a Certificate of Authenticity from Mr. Jago and 1xRUN

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ABOUT Mr. Jago:
Since graduating from the University Of The West of England in Bristol in 1998, Duncan Jago’s work has undergone a prolonged and continuous process of abstraction.

Duncan’s early – doodle-derived – mark making evolved deliberately into his current way of working; the droid-like figures of his formative, commercial illustration slowly enveloped in ever-deepening layers of colour and shade. These figures have now become almost entirely hidden, remaining as shadowy, compositional elements, specters lurking in the gloom behind the kaleidoscopic vapours of (what might perhaps be) humankind’s vanity and pollution. One senses a narrative, but it remains obscured, teasingly just out-of-view.
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