The wall component is a non-objective painting – a monochrome square. If we understand the illusionistic space of a figurative painting as occurring between the painterly construction of a foreground and background, then a non-objective painting does away with figurative space by being rid of a foreground and background. Painterly construction gives way to physical construction.
Yet, in the truth works, the physical addition of a geometric shape intercepts the monochrome painting with a dilemma. In terms of painterly construction, the truth works are without a foreground and background. Yet in terms of physical construction, a geometric shape with physical depth on top of another renders the former a foreground and the latter a background.
The painterly construction is, therefore, in disagreement with the physical construction of these truth works. What, then, is their truth? The watercolour encyclopaedia entitled ‘Encyclopaedia of finding the truth in art’ begins with ‘They disagreed’.
This is the truth of the orange and red truth work, a truth the protagonists within the situation are unable to see.
The painting hangs in a floorplan based on its physical construction. It hangs 2 mi up and 3 un across. It hangs in the same place whether viewed as a monochrome (orange) square, or as a red geometric shape placed on top of the orange square.

truth works: orange and red

Specifications
truth works: orange and red is made of acrylic on wood, watercolour and lead pencil on paper (framed) .

The work comprises components with an overall measurement of 50 x 50 x ‘X’ cm.

Edition
truth works: orange and red is in an edition. The edition includes:
  • truth works: blue and grey, 2010
  • truth works: brown and black, 2010
  • truth works: turquoise and green, 2010
  • truth works: orange and red, 2010
    • Exhibitions, events & artist pages
    23/02/2010 Leave the line standing, St Canice’s Annex, Sydney

    Holdings
    truth works: orange and red is in a private collection: Sydney, 2010.

    Later artwork

    Earlier artwork

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      I acknowledge the Kulin Nation’s Yaluk-ut Weelam clan of the Boon Wurrung people as custodians of the lands, waterways and skies where I live and work. I pay my respect to their Elders past, present and emerging. I recognise their cultural faithfulness, strength and resilience against the trauma of colonisation. First Peoples’ sovereignty has never been ceded.
      Gail Hastings