Extracts from notebooks 2017-18
… the paintings are structured around the potential/searching/sketching, the suggesting and the dissolving/mutation of abstract forms/structures.
The paintings present the thinking through of possible abstract forms.
Maybe abstract art is not so much a nonrepresentational technique but the art of reappearance. Abstract sculpture makes forms reappear; it appears as itself, non-resembling but doubtless it appears as a form and in this context could be thought of as a reappearance of forms. Painting seeks the reappearance and sense of relationship to the forms/world in a more transient way perhaps. And there is also the reappearance of painting’s idea/forms themselves.
The title 'Sketch for Polychrome Sculpture' functions as a generative idea or concept that fuels these abstract paintings. Its simple terms deconstruct, for me, an impasse in painting (i.e. why to paint and what to paint) whilst simultaneously it opens a new kind of space across the sheet of sketches. This is a space for painting to operate once again and in which it can experiment with its colour/forms. It is also a space that contains other more shallow planes of space. In the making, this title is like a tool to apply to the work; it lends its sense of direction to the otherwise empty-feeling, haphazard intuition of mark making. On the other side of both this 'generative concept' and these descriptions of material techniques there comes about the complexities of the actual painting…
Working on 2 distinct types of painting that are not wholly unrelated lines of enquiry and share certain qualities, but are at the same time, distinct. I find that I am not wholly reflected in either; that psychologically I am neither identified nor pinned down by the appearance of my paintings. I prefer to reflect on my personal experience of the work in the dialogue between the two, which is of course neither one nor the other but something else altogether.
The works I make on horizontal format, white primed linen also think through and sketch out ideas for possible forms, only here it is structured or at least contained by the geometry of rectangles and their combined relationships. It’s a task of using colour to loosen or undo the static certainty of those rectangles and their possible relationships. The edges of the rectangles are marked out by perpendicular and random lines or marks of hatched colours. Through that kind of description/reinterpretation of the rectangle, I find ways to put them to use as composite elements in the painting.
Painting as Presence in the Works of Philip Lumai
Beyond the immediate material contents the delicacy achieved by Lumai’s large and small scale monochrome paintings is remarkable. While colour carries the
connotation of certain complimentary affects in his paintings, it is an error to think of these works in purely colouristic terms. The powerful emotional affects in his untitled works come from their tone, and tonality is derived from the immanent contents within his paintings. A great deal has been written about the pseudo spiritual, metaphysical and/or sublime transcendence of monochrome and abstract painting. Transcendence generally means 'lying beyond the ordinary range of perception', and this defies the stated material contents that Lumai valorises. It is not a case of going beyond, but of 'entering into' the greater depths of perception that gives a meaning to the artist’s paintings and drawings. The extraordinary tonality that Lumai achieves is immanent, because it holds within itself a sense of presence. It remains present within the appearance of things, within the life contents that brought the thing into being,
Absolute immanence is in itself: it is not in something, to something; it does not depend on the object or belong to the subject…
immanence is not immanence to substance; rather substance and modes are in immanence. This idea develops further the Kantian notion of immanence remaining within the bounds of possible experience, and adds to it that all the processes of life production are contained in life itself. Let me say again that what we experience in Lumai’s monochrome paintings is materialised perception, that is a particular sense of perception heightened by the immanence derived from their physical expression and internal tonality.
The making of marks as visual facture, and the variable surface eruptions created, expands perception in Lumai's monochromes: that is to say doubling the textural (haptic) and optical (visual) experience. The rhythms of the mark making (often circular in mode) direct the conditions by which arcs of expression take place. This is particularly noticeable in the works on paper which are more freely formed and less confined to boundaries of the paper as a surface. Unusually the marks created on the aluminium panels tend to be more tightly orchestrated in terms of their expression. The marks are increasingly multidirectional and the surface mark-making gesture less pronounced. This reminds the viewer of the physical relationship between the artist and the surface. How Lumai addresses the surface contains a psychological content in as much as how it is managed in purely physical terms. Because the process takes weeks, sometimes months of literally building the colour substance directly on the surface of the industrially primed aluminium panel, a sense of autonomy between the artist and a particular painting emerges. What might at first seem a procedure that leads to an imagined uniformity is paradoxically undermined by the material individuality of each painting.
The use of colour which thus far I have seemed to derogate, is also very important to Lumai. Colour is always a dangerous force insomuch that it can have a tendency to impose its immediate effects and overwhelm the viewer often to the detriment of comprehending the subtleties of mark making and tonality. Lumai is very precise therefore in his use of colour. In his 'Series 4' paintings, he employs complex mixtures of cement like greys, plaster whites or ochres, and stone blues, and violets. This tendency stresses both their ephemeral and unfathomable properties and homages the integrity and quality of the organic and inorganic pigments that he uses. The colours he makes gradually reveal their own sense of interiority and physical complexity, echoing the palpable (of touch) and the shifting ground brought about by their visual densities. Lumai sees colour in terms of likeness and rupture, which is to say he uses the relational affinities born of the material properties within a given colour, and at the same time seeks to grasp the entropic sensations thrown up by his hand ground materials. He maximises the duality of colour, its double affection, the power to please and the power to disrupt the eye. What may seem meditative when first experienced becomes enervated and charged when seen through prolonged contemplation. Colour has always had the power to seduce the eye but with Lumai’s paintings colour 'induces' the extended process of looking. Induction meaning quite literally taken inside the working processes of the thing seen, and generating inferred principles that appear to underly the experience. Seduction is the simple enticement of effect, induction is the prolonged engagement with affects which brings about influences that change a persons understanding of that experience. But the induced experiences of Lumai’s use of colour remain individual to each viewer and it is in no way suggested that the artist seeks in any sense a systematic or schematic reading of his works.
It may seem contradictory to speak of structure in works that are in general terms monochromatic. In Lumai’s works structure has quite a specific meaning in relation to forms, that is to say it is not strictly to do with shape or morphology as such but is relational in the Kantian architectonic sense rather than in actual architectural terms. However, the industrially produced composite panels that provide the support for the large scale paintings are in fact intended for architectural uses by their manufacturer and in earlier works sheet metal is used which hangs directly against the wall exposing its fixtures. The chosen formats of the paintings are carefully calculated to provoke certain relational values between works and their large scales intervene powerfully on the gallery spaces. The relation of the monochrome to the wall on which it rests, and the particular play of incidental light across a colour’s surface are important concerns of the artist. The facture of walls in general have always held a fascination for Lumai, no two walls are ever exactly the same, each have their striations and fissures, ruptures and accretions. Indeed paintings and walls have a long history in mural or fresco but even more importantly as a site of potential for imaginative invention
…Look at walls with a number of stains, or stones of various mixed colours. If you have to invent some scene, you can see in these resemblances a number of landscapes… Hence structure is to Lumai the generated sense of internal coherence that follows on from an imaginative engagement with material perceptual experience. Further vindications are several times given by Leonardo in his argument “But even though these smears of colour provide you with inventions, they also show you that they do not come to represent anything in particular.” Structure is that of conscious engagement with things seen and perceived, and which leads thereafter to interpretive invention. Structure is form as facture mediated by the eye of imagination. It is a self obedience to the process of making, and it was formerly called craft before the word gained its sometime used pejorative connotation.
While each work is autonomous, Lumai always works in series where individual paintings initiate and uniquely redefine a certain visual ‘idea’ that the artist experiences as a necessity. The paintings do not impose the sense of signature that is always associated with the brush mark and with gestural abstraction in general terms, indeed painting was defined for many centuries by the brush mark of the artist. By using the tools of his palette: the spatulas and the paint muller, Lumai evokes an internal and personal process, the labour that pertains, and the residual outcome that flows from it. While the choices the artist makes inevitably give each work a unique character, it is not one that dictates a forced stylistic identity. Hence one could say that his paintings and drawings do not seek to transform the world, but to reveal its mysterious nature. Lumai makes evident the known, and this is why I spoke earlier of the immanent qualities of his works, and not their transcendence. He does not seek to go beyond the world, but to verify and extend our creative awareness of it. His monochrome paintings are a key, they reveal the materiality of intensely perceived experiences. The viewer simply has to be open to a state of direct perception and cultivated self reflection to be similarly rewarded.
Extracted and edited by the artist
Originally published in 'Philip Lumai , Paintings & Drawings', Peter Foolen Editions 2010
i Immanence means quite literally 'existing, operating, or remaining within; inherent.'
…it is only when immanence is no longer immanent to anything other than itself that we can speak of a plane of immanence. Gilles Deleuze, 'Immanence, A Life', Pure Immanence: Essays on A Life, New York, Zone Books, 2002, pp 26-27 (Fr. orig., 'L' Une Vie' philosophie 47, editions de minuit, 1995).
iii This idea was already implicit in the writings of Benedict Spinoza (1632-77), where he defines immanence as attribute (attributum)
I understand that which the intellect perceives of substance as constituting essence, Part I, IV Spinoza: Ethics, ed. G.H.R Parkinson, London, J.M Dent, 1989, p3. See also, Gilles Deleuze, 'Chapter Four: Index of Main Concepts'. Spinoza: Practical Philosophy, San Francisco and London, City Lights Books,1988.
… the attributes are not ways of seeing pertaining to the intellect, because the Spinozist intellect perceives only what is: they are not emanations either, because there is no superiority, eminence of substance over the attributes, nor of one attribute over another. Each attribute ‘expresses’ a certain essence. p51 (FR. orig.., Spinoza: Philosophie Pratique, Paris 1970, P.U.F., revised and expanded, Editions de Minuit, 1981).
iv Induction does not refer in this case specifically to a scientific theory of asystematic experience, which argues scientific laws and supposed outcomes and which in any case falls foul of the 'fallacy of induction', since the boundaries between science and non-science have never been clearly defined. For a general discussion see, Thomas S. Kuhn 'The Structure of Scientific Revolutions', Chicago University Press, 1962 (and subsequent editions).
v Immanuel Kant (1724-1804) in his 'Critique of Pure Reason' (1781) developed an architectonic system (in a sense structural) following a progression of phases from the most formal to the most empirical, from cognition to perception; nothing can be comprehended unless there is this relational flow.
vi Irma Richter (ed), 'How to Increase Your Talent and Stimulate Various Inventions', The Notebooks of Leonardo da Vinci, Oxford University Press (1952), 1980, p. 182
vii Martin Kemp, 'Leonardo on Painting: Anthology of Writings by Leonardo da Vinci with a Selection of Documents Relating to His Career as an Artist's, New Haven and London, Yale University Press, 2001.
My work is pursuing a perceptual multiplicity within a singular, yet climatically shifting layer of colour. These 'shifts' are produced through the material’s relationship to a white ground and the choice of colour itself. The pigment mixture is suspended at a point indiscernible to our expectant colour concepts. Difficult, complex, subtle, interstitial colours fascinate me, they present complications of assimilation or placing, they disorientate. Such colours when isolated outside of any convincing pictorial theme ('The Death of Actaeon', 'Ray-Fish, Cat and Kitchen Utensils') attain an intractable nature, not least because they can no longer be precisely named, perhaps they seem anachronistic, caught between our familiar techno-industrial environment and our knowledge of paint as constituting an image with the power to transport. They are in a sense excursive, vagrant. They impinge on us, affecting some new quality, reiterating some essential quality that is painting itself.
This colour is imperceptible alone, indivisible from it's developing material sates, its viscosity, its trace, its support and its final fixing to a wall, a building…: it is the opaque and the translucent, the physical and the optical… The material evolves through manufacture as this: this plane, this surface, as this concrescence, this percept. But equally as this immateriality and these personal climatic associations. Furthermore my work of grinding pigments directly onto an aluminium support creates another place for the painter outside of an overtly aesthetic involvement with the surface and its potential content (the picture) but establishing an intrinsic, emotive connection inside the material plane in both its physical and perceptual states.
My painting has become hyper conscious of its context in time and space: I am intensely aware of its awkward identity and its incongruity within the commerce of information. However this situation informs an important aspect of my work, and exerts its powerful presence throughout the working process. The sense of a slowing down always pervades the best painting (however rapid its execution) and needs no further qualification through other mediums of thought. It is an affect that reaches the viewer through its implicit negative insistence, and not by calculated reportage. What interests me are the possibilities of a work that embodies the functioning of abstraction: this would mean that the work is itself an object of, and simultaneously a source of abstract forces. These forces constitute a persistently disruptive language of painting which contrary to our theories of art and drives of popular culture, resists codification.
In painting being is suggested as a quality that is neither familiar nor unknown. As it appears, we recognise that which cannot be and recall what has no right to exist within the confident rectangle of dexterity. This is quintessential, oblique, inseparable from the moment of making and existing through materials. The edges of human capacity are not the limits so voraciously sought, not linear definitions of shape, more a membranous area of exchange, like that between colours.
2018 'Why the Moon waxes and Wanes' Vincent Laute, Phil Lumai, Schälling | Enderle. 20.01.18 - 16.03.18. V/MSP Gallery. Brussels
2014 'Au doigt et à l'œil' Aïda Kazarian, Philip Lumai, Bernard Villers. Galerie Ledune, Brussels.
'Abstract Painting and Photography' Paul Caffell, Ori Gersht, Alexis Harding, Louise Hopkins, Philip Lumai, Marek Piasecki. Mummery & Schnelle Gallery, London.
'A World Removed' Philip Lumai. Galerie Ledune, Brussels.
2013 'Group Show' Filip Francis, Philip Lumai, Imi Knoebel, Olivier Mosset, Gerhard Richter, Jan Schoonhoven, Dan Walsh. Galerie Ledune, Brussels.
2011 'Drawings & Photography' Cecile Bart, Yannick Carlier, Philip Lumai, Michel Verjux, Jacques Vilet. Galerie Art Office, Brussels.
2006 'New Paintings' Philip Lumai. Knaackstrasse 12, Berlin.
2003 'Sans Titre' Katharina Grosse, Philip Lumai, Ingo Meller. Galerie Ledune, Brussels.
2002 'Peintures' Filip Francis, Philip Lumai, Olivier Mosset, Claude Rutault, Phillipe van Snick. Galerie Ledune, Brussels.
2001 'New Abstract' Aïda Kazarian, Philip Lumai, Bernd Mechler. Galerie Ledune, Brussels.
Phil Lumai was born in Bristol, UK in 1968 and currently lives and works in Brussels, Belgium.