Mark Nesbit

Joined Artfinder: Dec. 2018

Artworks for sale: 7

United Kingdom

About Mark Nesbit

 
 
  • Biography
    I'm driven by an abiding fascination with mortality; not just in a human sense but the birth, life, death, decay and entropy of all matter and the causes of this. Thus, my inspiration derives from things created that have fallen into ruin. This might be an abandoned industrial site such as an old whaling station or quarry, perhaps the destruction caused by erosion of cliff faces or flash floods and the subsequent rebirth of new landscapes. I interpret this through the medium of various textures (using moulding plasters and other media) that are manipulated using tools I have made to spread and make marks within these on canvas. This is overlaid with series of chemical reactions between elements and compounds, predominantly copper and iron based elements to create colours and give the work a monumental or ceramic feel. Whilst I've always worked with plasters, I realised early on that paint didn't provide me with the right 'natural' hues I was looking for and viewing the spoil heaps at former tin mines in Cornwall helped me see exactly what I was after; the vivid blue and green from oxidised copper and the range of more subdued red, brown, yellow and black from iron ores and rust that fit so perfectly with the work I wanted to create. Whilst I am no chemist, I did recall from schoolboy chemistry lessons some of the basic principles involved and have utilised this ever since. A short statement I have used when exhibiting work seems appropriate to sum up what I do: 'As we are forged from the elements, so must we return; immortality is not ours to possess. There is truth to be found within the chemistry of these works; change, growth and decay. Here, no illusion is required and what appears to be solid and fixed will evolve according to what is dictated by the external influences of history and matter.' The work itself is quite sculptural, although presented in the traditional form of 2D paintings. Although some of the surfaces appear quite fragile they stand the test of time and I seal the surfaces now with polyester resin to give additional hardness and guarantee longevity as well as providing a greater sense of security for customers who may be nervous about the inclusion of chemical processes. Artfinder seems an excellent platform for my work, particularly with the terms and conditions involved for someone who only sells originals.
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Biography

I'm driven by an abiding fascination with mortality; not just in a human sense but the birth, life, death, decay and entropy of all matter and the causes of this. Thus, my inspiration derives from things created that have fallen into ruin. This might be an abandoned industrial site such as an old whaling station or quarry, perhaps the destruction caused by erosion of cliff faces or flash floods and the subsequent rebirth of new landscapes. I interpret this through the medium of various textures (using moulding plasters and other media) that are manipulated using tools I have made to spread and make marks within these on canvas. This is overlaid with series of chemical reactions between elements and compounds, predominantly copper and iron based elements to create colours and give the work a monumental or ceramic feel. Whilst I've always worked with plasters, I realised early on that paint didn't provide me with the right 'natural' hues I was looking for and viewing the spoil heaps at former tin mines in Cornwall helped me see exactly what I was after; the vivid blue and green from oxidised copper and the range of more subdued red, brown, yellow and black from iron ores and rust that fit so perfectly with the work I wanted to create. Whilst I am no chemist, I did recall from schoolboy chemistry lessons some of the basic principles involved and have utilised this ever since. A short statement I have used when exhibiting work seems appropriate to sum up what I do: 'As we are forged from the elements, so must we return; immortality is not ours to possess. There is truth to be found within the chemistry of these works; change, growth and decay. Here, no illusion is required and what appears to be solid and fixed will evolve according to what is dictated by the external influences of history and matter.' The work itself is quite sculptural, although presented in the traditional form of 2D paintings. Although some of the surfaces appear quite fragile they stand the test of time and I seal the surfaces now with polyester resin to give additional hardness and guarantee longevity as well as providing a greater sense of security for customers who may be nervous about the inclusion of chemical processes. Artfinder seems an excellent platform for my work, particularly with the terms and conditions involved for someone who only sells originals.
 
 
 
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