Work

close-up of Hornsbys Fracture 1

"Fracture Recontextualized"

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"Fracture Recontextualized"

"Fracture-Recontextualized" is an experiment that joins Hornsby's pre-existing paintings into larger, more complex compositions.

Hornsby explains: "I was inspired by the kinetic technique of Alexander Calder’s mobiles and how he overcame the static nature of art. The modular forms I’ve conceived within each of my paint­ings have the potential to continually vary and evolve through perpetual redesign

and placement. They are not fixed entities, but objects of change. With every fluid unfolding, I believe they are the em­bodi­ment of per­for­mance and in­stal­la­tion art."

"The modularity of my forms opens the door to the possibility of co-creative art, in which I and col­lec­tors/ex­hib­itors/other artists collaborate to jointly deter­mine the ap­pear­ance of the work."

"This col­lective evolu­tion, with each turn of re­com­po­sing and de­com­po­sing, offers an alter­na­tive per­spec­tive and interpretation."

"The original paint­ings can be re-con­textu­alized by the rear­ranging of their parts, there­by provi­ding un­limited pos­sibil­ities not yet im­agined."

"Fracture-Recontextualized" is an experiment that joins Hornsby's pre-existing paintings into larger, more complex compositions.

Hornsby explains: "I was inspired by the kinetic technique of Alexander Calder’s mobiles and how he overcame the static nature of art. The modular forms I’ve conceived within each of my paintings have the potential to continually vary and evolve through perpetual redesign and placement. They are not fixed entities, but objects of change. With every fluid unfolding, I believe they are the embodiment of performance and installation art."

"The modularity of my forms opens the door to the possibility of co-creative art, in which I and the collector/exhibitor collaborate to jointly determine the appearance of the work."

"This collective evolution, with each turn of recomposing and decomposing, offers an alternative perspective and interpretation."

"The original paintings can be re-contextualized by the rearranging of their parts, thereby providing unlimited possibilities not yet imagined."

F-R-1a painting
"F-R-1a" is a par­tial com­bina­tion of eight existing "Fracture" paintings.
F-R-1a table-top 'sketches'.
The discovery process begins with experimenting with table-top sketches.
Blue pieces from original paintings used in F-R-1a
"F-R-1a" is a combination of the above paintings, pieces used in blue.
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F-1 thumb

Title: F-R-1a

Media: Mixed

Size: 109" x 109"

"F-C-1a" is a recon­textuali­zation of the fol­low­ing pain­tings: "F-Pod 2", "F-Flight", "F-Nest", "F-Ball", "F-Defend", "F-Attack, "F-Circle", and "F-X". This is an ex­peri­ment that com­bines pre-existing "Frac­ture" series paintings into one lar­ger re­pres­en­tation.

F-1 thumb

Title: F-R-1b

Media: Mixed

Size: 109" x 65"

"F-C-1b" is recon­textu­alized from the remaining can­vases left from the eight paint­ings the "F-C-1a" work used.

 
F-Nest thumb

Title: F-R-2a

Media: Mixed

Size: 98" x 109"

 

"F-C-2a" is a par­tial recon­textuali­zation of the fol­low­ing pain­tings: "F-Pod 2", "F-Flight", "F-Nest", "F-Ball", "F-Defend", "F-Attack, "F-Circle", and "F-X". This is an ex­peri­ment that com­bines pre-existing "Frac­ture" series paintings into one lar­ger re­pres­en­tation.

F-Attack thumb

Title: F-R-2b

Media: Mixed

Size: 87" x 76"

 

"F-C-2b" is recon­textu­alized from the remaining can­vases left from the eight paint­ings the "F-C-2a" work used.

 
F-Ball thumb

Title: F-R-3a

Media: Mixed

Size: 87" x 98"

 

"F-C-3a" is a par­tial recon­textuali­zation of the fol­low­ing pain­tings: "F-Pod 2", "F-Flight", "F-Nest", "F-Ball", "F-Defend", "F-Attack, "F-Circle", and "F-X". This is an ex­peri­ment that com­bines pre-existing "Frac­ture" series paintings into one lar­ger re­pres­en­tation.

F-Defend thumb

Title: F-R-3b

Media: Mixed

Size: 87" x 120"

 

"F-C-3b" is recon­textu­alized from the remaining can­vases left from the eight paint­ings the "F-C-3a" work used.