Gregor Wright – Acid Police

<p>Eschewing his previous modes of production, Wright presents a new series of works on <strong>UHD</strong> screens. At first glance, one could liken <strong>these new works</strong> to digital paintings, but – though they very much possess painterly elements – Wright has found a kinship they share with drawings <strong>too</strong>- their offer of immediacy, a very particular quality he finds key – the speed in which an idea can be realised. Whereas a painting is built in stages- a ground followed by layer after layer of paint- a drawing offers an indisputable, satisfying instantaneity. <strong>Painting requires moments of </strong><strong>stepping away, allowing paint to dry, which can leave the work vulnerable, vitality depleted in a cycle of continual change and reworking.</strong> Wright built his new body of work with <strong>digital tools designed for tablets</strong> – the functions fitting for use on these small-scale devices which perhaps <strong>draws a parallel</strong> to a sketchbook. It can be viewed as a natural progression. He takes <strong>as</strong> his starting point – which eventually becomes the background- found imagery distorted by a custom-designed algorithm. This imagery is culled from pulp science fiction covers or illustrations from fantasy magazines but <strong>in their completed state</strong> they are near <strong>impossible to detect</strong> in the abstract, almost alien compositions. Wright follows by overlaying (and further changing) these newly transformed images with digital marks and strokes- the process characterised by the welcome ability to apply each layer without the pauses and breaks <strong>traditional</strong> painting imposes. <br></p>