Mixed Media – Louis Loveless

Study for Remote Viewing

Collage and oil on canvas
50x40cm

Waterfalls in the Savanna

Collage, acrylic and ink on canvas
50x40cm

Spectres of the Feminine

Collage, acrylic and ink on canvas
50x40cm

Skin Trap

Collage, acrylic and ink on callico wrapped board
30x30cm

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Persistence

Transfer, oil and ink on canvas
60x40cm

Frustrations, let downs, they come in steady supply,
Zombifying utterances, but never dare to cry.
Sweethearts, darlings and men like fucking scum,
One thing after another, let it come, let it come.
Two headed dogs, snake charmers and the rest,
Grime covered armour, let’s put it to the test.
A chest bruised and bloody, I’ll take it in my stride,
One last attempt at taking back a bit of pride.

Holy Insecurity

Collage, acrylic and ink on canvas
50x40cm

North and Down

Collage, acrylic and ink on canvas
50x40cm

Death is the Passing of Time

Collage, acrylic and ink on canvas
50x40cm

Compounded Trauma

Collage, acrylic and ink on canvas
40x40cm

Holy Insecurity

Collage, acrylic and ink on canvas
60x40cm

Extraterritorial Abduction

Collage, acrylic and ink on canvas
70x70cm

Portal Drawings

Charcoal, acrylic, ink, oil bar and crayon on canvas
59.4 x 84.1 cm

Individual titles:
Martinware
Amphisbaena
Sámi

Various mixed media drawings

Works on paper, in media including charcoal, collage, ink, acrylic, oil bar, wax crayon, pastel and pencil

Ancient Scroll

Acrylic and ink on canvas
200x20cm

Influenced by Chinese Shan Shui paintings and characters from Japanese book: Yokai Manga Parade of Monstrous Creatures. Shan shui paintings have been on my mind since I started my research for my BA dissertation. The paintings are inherently spiritual as the fog and clouds create big areas of emptiness in the paintings surface, invoking the void, a silent element crucial to eastern philosophy and religion.

Experiment

Collage, acrylic and ink on canvas
70x30cm

Liberator Hangs French Colonial Oppressor

Acrylic and ink on canvas
250x80cm

An ink drawing referencing an engraving in An Historical Account of the Black Empire of Hayti by Marcus Raindford, 1805. This engraving depicts the Haitian revolution, which began as a slave rebellion in April 1791 and culminated in the abolition of slavery, freedom from French rule and the formation of an independent republic. The revolution was the only slave uprising that led to the founding of a state which was both free from slavery (though not from forced labour) and ruled by non-whites and former captives.

Experiment

Collage, acrylic and ink on canvas

70x30cm

A collage made of collaged bits of old collages of mine. Organised in the structure of 18th century Catholic paintings of angels and Bible figures ascending from ground to sky.

Experiment

Collage and ink on canvas

70x30cm

A collage made of collaged bits of old collages of mine. Organised in the structure of 18th century Catholic paintings of angels and Bible figures ascending from ground to sky.

Enveloping Mass

Collage, acrylic and ink on paper
150x30cm

Enveloping Mass was an attempt to cut back some of the visual noise in the collages, a collage was made and then I slowly painted almost all of it out, just leaving little areas of tension that I liked. Is the overcrowded and busy language of my paintings and collages what I want? Is less more? These were the discussions I was having at the time and this was one of a few times I tried this technique of subtraction with the aim of elevating the strongest elements out of the noise. The process reminded me of carving in sculpture: removing material to reveal the destined piece inside. If I were to take this analogy further my usual process of collage would perform the role of additive sculpting: piling on material to an armature to craft something new.

Nostaliga

Collage on pinboard
60x45cm

The collaged elements include some cut outs of an old life drawing I did a long time ago and scraps of paper I found whilst clearing out an old desk. I chose these specific bits of paper for this collage for their nostalgic feel. They were bits of paper that were still in my desk from when I was in school and from when I was a child. The sugar paper looks quite retro now and the graph paper and bit of homework sheet combined with corkboard has an antiquated educational feel. This collage is a simple experiment with material, colour and shape, in a sort of minimalist, modernist way (something I don’t usually go in for). It was a way of repurposing an old drawing that I wasn’t happy with as a whole, but enjoyed once I cut it into smaller sections. It was also a way to explore collaging with abstract materials instead of photographs as I usually do.

Pale

Collage on paper
70x40cm

A collage made on brown paper as prep for a painting I wanted to make. The images in it are from a collection of soft toned, blurry and pastel-coloured photos I gathered and wanted to paint from during a stretch of interest in photographs that almost resemble paintings in their soft texture and limited palettes. I was interested in how one could paint from these in a way that allowed the image to still retain its artificial, photographic elements despite the source images painterly aspects. A play on the photo being painterly and the painting being photographic. The result would be a carefully balanced and very difficult to achieve image that would look quite different from most modes of painting. This chain of thought came about whilst looking at a lot of work by Luc Tuymans and Gerhard Richter. I wanted to frame the images in lots of rectangular shapes, as being locked inside during the first nationwide covid-19 lockdown provided me with lots (arguably a damaging amount) of time to think about what I want my practice to be about caused me to consider if my interest with the rectangle in the middle of paintings should take a larger role in a new series of work. As I have mentioned in other descriptions of my paintings I see the rectangle as a window or a hole through the painted surface.

Thanks a Million

Collage, ink and acrylic on paper
100x70cm

Featuring photos from the Stanford Prison Experiment and medical magazines.

Bridle

Collage and ink on paper
A3

Exploring themes of the body: the subjugation of women via political and bodily control throughout history, body dysmorphia, exercise, sex, and the spirits connection to the physical body. Also an exploration of the arrangement of exploded shapes, the brainstorm style composition, and using cut outs of mark-making textures.

Abduction

Collage, ink and acrylic on paper
100x70cm

Exploring themes of ancient religious and occult practices, outer space, extra-terrestrial life and conspiracy theories. Images gathered from obscure and wide-ranging internet sources: the sort of message boards and underground blogs that I feel represent the unconscious of the internet, or the Id. The plastic sheeting was employed to combine the disparate materials, images and colours into one cohesive field by tying them together under one blanket layer. It also serves as a surface that mimics that of the computer screen with its reflective artificial materiality and it’s distortion and blurring of the images beneath it, much like the often low quality of jpegs on the afforementioned websites. It also acts as a screen in the other sense of the word: a barrier between the work and the viewer, is it to protect the work or the viewer? The plastic eminates themes of the medical. The aspect of seperation is heightened by the fact that it makes it harder for the viewer to see what the images are underneath.

Candy Crisis

Collage and acrylic on paper
70x50cm

Buzz Buzz

Collage, ink and acrylic on paper
70x50cm

Lethargy

Collage, ink and acrylic on paper
100x70cm

Silo

Collage, ink and acrylic on paper
100x70cm

Inside/Outside

Collage, ink and acrylic on paper
100x70cm

Prey

Collage, ink and acrylic on paper
100x70cm

When making this piece I was thinking about ideas of surveillance in its different forms. I was thinking about the similarities and differences between corporate/governmental surveillance and the voyeurism of stalkers and serial killers. I was thinking about how most serial killers are men and how women make up the large majority of victims and perhaps how surveillance in its larger meaning could be a gendered issue. Visually, I was attempting to link these patterns of behaviour and psychology to archetypes in historical and religious stories by juxtaposing occultist and religious imagery with that of images of surveillance and photos of female victims of obsession-linked murder. This piece was made as part of a series of collages that used a technique of composition that employed the generous use of space, the ‘exploded diagram’ composition, avoiding the oversaturation of images in my other collages and reincorporating drawing back into the collage at a later stage.