Sweet Nothing Love III
A painted return to Sweet Nothing Love I, bringing fragments once separated by editing into a single image of multiplied bodies, flowers and interrupted gestures.
Curatorial Summary
Sweet Nothing Love III returns to the visual material of the earlier moving-image work Sweet Nothing Love I, translating its temporal structure into painting. Images that originally appeared at different moments are brought together on a single surface: faces emerge at shifting scales, bodies overlap, hands cut across other figures, and roses punctuate a field dominated by black, white and grey.
The change of medium alters the internal logic of the work. Editing, repetition and duration give way to simultaneity. Images no longer succeed one another; they accumulate. Their boundaries begin to dissolve as figures merge into painted haze, areas of white obscure parts of the composition, and individual bodies become increasingly difficult to separate.
The restricted palette carries an essential element of the original visual language into the painting. Red appears sparingly yet insistently, shifting between flower, flesh and wound. Through this movement from moving image to canvas, Sweet Nothing Love III becomes an act of reassembly, allowing dispersed images from the earlier work to coexist within a single, suspended present.
artist
statement
I returned to Sweet Nothing Love I because some of its images remained with me long after the video was finished. I wanted to work with them again once duration, sequence and movement had fallen away.
I had no interest in reproducing a single still. Instead, I brought together fragments from different moments of the video: faces, naked bodies, hands, roses, exposed skin. In the moving image, editing determined when each element appeared and disappeared. On the canvas, they are made to remain together.
I translated the grain, blur and visual distortion of the video through layers of oil paint. Some figures stay legible; others dissolve into one another or disappear beneath subsequent layers. The black-white-red palette comes directly from the earlier work, with red reduced to a handful of concentrated interruptions across the surface.
Sweet Nothing Love III became a way of returning to an image through another medium and allowing several moments of the original work to inhabit the same present.
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