Fragments

‘Deconstructing the Construct’ The work is derived from personal experience, memory, encounter, and thought. The imagery that forms the inspiration for ‘Fragments’, is predominately taken from the North-East and brings together many disparate and contrasting elements that I encounter, often over prolonged periods of time. Reporting on daily experiences, putting down what I see in unique visual terms. I am fascinated with structures, buildings, signs, symbols, detritus and discarded elements that are the fabric of our towns and cities. I take inspiration from the world around me, with a compulsion to do something about and with it. Everything I use is relative, and everything is acceptable. Multiplicity, variation, and inclusion are essential in the compositions. Much of the work is built up with fragments of imagery that lose their original context, purpose, or identity, as they become absorbed into the compositions. There is a loss of pictorial definition between the photographic source and its subsequent re-worked appearance, as it is subjected to a series of stages that alters its original characteristics, enabling the reality of the image to flee, leaving only a crude, and faded memory. Multiple images are layered and positioned for their visual appeal as shapes and forms, as opposed to any obvious correlation between themselves. Clues to original location, time and place become confused, as the imagery is conjoined, morphed, and juxtaposed, creating jarring narratives. As a series of works, they tell their own stories. They are a visual document of my experience. Text is also a crucial, integral, and recurring element in all of the work. Wording in books, song lyrics and titles, street signage, packaging are but a few of the sources that I use. Text forms the titles or inspires the creation of a particular work. The written word adds a wholly different dimension, as it can inform, add meaning, instigate, or mislead the viewer. I am interested in the appropriation of text in different visual contexts, it can be a distraction from the other elements, as we tend to rely on words for instruction, meaning and validation, but type is also beautiful in itself, with its variable shapes and forms that serve as a pure visual inclusion to the compositions.

‘Deconstructing the Construct’ The work is derived from personal experience, memory, encounter, and thought. The imagery that forms the inspiration for ‘Fragments’, is predominately taken from the North-East and brings together many disparate and contrasting elements that I encounter, often over prolonged periods of time. Reporting on daily experiences, putting down what I see in unique visual terms. I am fascinated with structures, buildings, signs, symbols, detritus and discarded elements that are the fabric of our towns and cities.

I take inspiration from the world around me, with a compulsion to do something about and with it. Everything I use is relative, and everything is acceptable. Multiplicity, variation, and inclusion are essential in the compositions.Much of the work is built up with fragments of imagery that lose their original context, purpose, or identity, as they become absorbed into the compositions. There is a loss of pictorial definition between the photographic source and its subsequent re-worked appearance, as it is subjected to a series of stages that alters its original characteristics, enabling the reality of the image to flee, leaving only a crude, and faded memory. Multiple images are layered and positioned for their visual appeal as shapes and forms, as opposed to any obvious correlation between themselves.Clues to original location, time and place become confused, as the imagery is conjoined, morphed, and juxtaposed, creating jarring narratives. As a series of works, they tell their own stories. They are a visual document of my experience.

Text is also a crucial, integral, and recurring element in all of the work. Wording in books, song lyrics and titles, street signage, packaging are but a few of the sources that I use. Text forms the titles or inspires the creation of a particular work. The written word adds a wholly different dimension, as it can inform, add meaning, instigate, or mislead the viewer. I am interested in the appropriation of text in different visual contexts, it can be a distraction from the other elements, as we tend to rely on words for instruction, meaning and validation, but type is also beautiful in itself, with its variable shapes and forms that serve as a pure visual inclusion to the compositions.

Conrad Milne 2023

‘Deconstructing the Construct’ The work is derived from personal experience, memory, encounter, and thought. The imagery that forms the inspiration for ‘Fragments’, is predominately taken from the North-East and brings together many disparate and contrasting elements that I encounter, often over prolonged periods of time. Reporting on daily experiences, putting down what I see in unique visual terms. I am fascinated with structures, buildings, signs, symbols, detritus and discarded elements that are the fabric of our towns and cities. I take inspiration from the world around me, with a compulsion to do something about and with it. Everything I use is relative, and everything is acceptable. Multiplicity, variation, and inclusion are essential in the compositions. Much of the work is built up with fragments of imagery that lose their original context, purpose, or identity, as they become absorbed into the compositions. There is a loss of pictorial definition between the photographic source and its subsequent re-worked appearance, as it is subjected to a series of stages that alters its original characteristics, enabling the reality of the image to flee, leaving only a crude, and faded memory. Multiple images are layered and positioned for their visual appeal as shapes and forms, as opposed to any obvious correlation between themselves. Clues to original location, time and place become confused, as the imagery is conjoined, morphed, and juxtaposed, creating jarring narratives. As a series of works, they tell their own stories. They are a visual document of my experience. Text is also a crucial, integral, and recurring element in all of the work. Wording in books, song lyrics and titles, street signage, packaging are but a few of the sources that I use. Text forms the titles or inspires the creation of a particular work. The written word adds a wholly different dimension, as it can inform, add meaning, instigate, or mislead the viewer. I am interested in the appropriation of text in different visual contexts, it can be a distraction from the other elements, as we tend to rely on words for instruction, meaning and validation, but type is also beautiful in itself, with its variable shapes and forms that serve as a pure visual inclusion to the compositions.

flux: mixed media on paper

‘Deconstructing the Construct’ The work is derived from personal experience, memory, encounter, and thought. The imagery that forms the inspiration for ‘Fragments’, is predominately taken from the North-East and brings together many disparate and contrasting elements that I encounter, often over prolonged periods of time. Reporting on daily experiences, putting down what I see in unique visual terms. I am fascinated with structures, buildings, signs, symbols, detritus and discarded elements that are the fabric of our towns and cities. I take inspiration from the world around me, with a compulsion to do something about and with it. Everything I use is relative, and everything is acceptable. Multiplicity, variation, and inclusion are essential in the compositions. Much of the work is built up with fragments of imagery that lose their original context, purpose, or identity, as they become absorbed into the compositions. There is a loss of pictorial definition between the photographic source and its subsequent re-worked appearance, as it is subjected to a series of stages that alters its original characteristics, enabling the reality of the image to flee, leaving only a crude, and faded memory. Multiple images are layered and positioned for their visual appeal as shapes and forms, as opposed to any obvious correlation between themselves. Clues to original location, time and place become confused, as the imagery is conjoined, morphed, and juxtaposed, creating jarring narratives. As a series of works, they tell their own stories. They are a visual document of my experience. Text is also a crucial, integral, and recurring element in all of the work. Wording in books, song lyrics and titles, street signage, packaging are but a few of the sources that I use. Text forms the titles or inspires the creation of a particular work. The written word adds a wholly different dimension, as it can inform, add meaning, instigate, or mislead the viewer. I am interested in the appropriation of text in different visual contexts, it can be a distraction from the other elements, as we tend to rely on words for instruction, meaning and validation, but type is also beautiful in itself, with its variable shapes and forms that serve as a pure visual inclusion to the compositions.

start all over again: mixed media on paper

‘Deconstructing the Construct’ The work is derived from personal experience, memory, encounter, and thought. The imagery that forms the inspiration for ‘Fragments’, is predominately taken from the North-East and brings together many disparate and contrasting elements that I encounter, often over prolonged periods of time. Reporting on daily experiences, putting down what I see in unique visual terms. I am fascinated with structures, buildings, signs, symbols, detritus and discarded elements that are the fabric of our towns and cities. I take inspiration from the world around me, with a compulsion to do something about and with it. Everything I use is relative, and everything is acceptable. Multiplicity, variation, and inclusion are essential in the compositions. Much of the work is built up with fragments of imagery that lose their original context, purpose, or identity, as they become absorbed into the compositions. There is a loss of pictorial definition between the photographic source and its subsequent re-worked appearance, as it is subjected to a series of stages that alters its original characteristics, enabling the reality of the image to flee, leaving only a crude, and faded memory. Multiple images are layered and positioned for their visual appeal as shapes and forms, as opposed to any obvious correlation between themselves. Clues to original location, time and place become confused, as the imagery is conjoined, morphed, and juxtaposed, creating jarring narratives. As a series of works, they tell their own stories. They are a visual document of my experience. Text is also a crucial, integral, and recurring element in all of the work. Wording in books, song lyrics and titles, street signage, packaging are but a few of the sources that I use. Text forms the titles or inspires the creation of a particular work. The written word adds a wholly different dimension, as it can inform, add meaning, instigate, or mislead the viewer. I am interested in the appropriation of text in different visual contexts, it can be a distraction from the other elements, as we tend to rely on words for instruction, meaning and validation, but type is also beautiful in itself, with its variable shapes and forms that serve as a pure visual inclusion to the compositions.

who put that there? mixed media on paper

‘Deconstructing the Construct’ The work is derived from personal experience, memory, encounter, and thought. The imagery that forms the inspiration for ‘Fragments’, is predominately taken from the North-East and brings together many disparate and contrasting elements that I encounter, often over prolonged periods of time. Reporting on daily experiences, putting down what I see in unique visual terms. I am fascinated with structures, buildings, signs, symbols, detritus and discarded elements that are the fabric of our towns and cities. I take inspiration from the world around me, with a compulsion to do something about and with it. Everything I use is relative, and everything is acceptable. Multiplicity, variation, and inclusion are essential in the compositions. Much of the work is built up with fragments of imagery that lose their original context, purpose, or identity, as they become absorbed into the compositions. There is a loss of pictorial definition between the photographic source and its subsequent re-worked appearance, as it is subjected to a series of stages that alters its original characteristics, enabling the reality of the image to flee, leaving only a crude, and faded memory. Multiple images are layered and positioned for their visual appeal as shapes and forms, as opposed to any obvious correlation between themselves. Clues to original location, time and place become confused, as the imagery is conjoined, morphed, and juxtaposed, creating jarring narratives. As a series of works, they tell their own stories. They are a visual document of my experience. Text is also a crucial, integral, and recurring element in all of the work. Wording in books, song lyrics and titles, street signage, packaging are but a few of the sources that I use. Text forms the titles or inspires the creation of a particular work. The written word adds a wholly different dimension, as it can inform, add meaning, instigate, or mislead the viewer. I am interested in the appropriation of text in different visual contexts, it can be a distraction from the other elements, as we tend to rely on words for instruction, meaning and validation, but type is also beautiful in itself, with its variable shapes and forms that serve as a pure visual inclusion to the compositions.
‘Deconstructing the Construct’ The work is derived from personal experience, memory, encounter, and thought. The imagery that forms the inspiration for ‘Fragments’, is predominately taken from the North-East and brings together many disparate and contrasting elements that I encounter, often over prolonged periods of time. Reporting on daily experiences, putting down what I see in unique visual terms. I am fascinated with structures, buildings, signs, symbols, detritus and discarded elements that are the fabric of our towns and cities. I take inspiration from the world around me, with a compulsion to do something about and with it. Everything I use is relative, and everything is acceptable. Multiplicity, variation, and inclusion are essential in the compositions. Much of the work is built up with fragments of imagery that lose their original context, purpose, or identity, as they become absorbed into the compositions. There is a loss of pictorial definition between the photographic source and its subsequent re-worked appearance, as it is subjected to a series of stages that alters its original characteristics, enabling the reality of the image to flee, leaving only a crude, and faded memory. Multiple images are layered and positioned for their visual appeal as shapes and forms, as opposed to any obvious correlation between themselves. Clues to original location, time and place become confused, as the imagery is conjoined, morphed, and juxtaposed, creating jarring narratives. As a series of works, they tell their own stories. They are a visual document of my experience. Text is also a crucial, integral, and recurring element in all of the work. Wording in books, song lyrics and titles, street signage, packaging are but a few of the sources that I use. Text forms the titles or inspires the creation of a particular work. The written word adds a wholly different dimension, as it can inform, add meaning, instigate, or mislead the viewer. I am interested in the appropriation of text in different visual contexts, it can be a distraction from the other elements, as we tend to rely on words for instruction, meaning and validation, but type is also beautiful in itself, with its variable shapes and forms that serve as a pure visual inclusion to the compositions.
‘Deconstructing the Construct’ The work is derived from personal experience, memory, encounter, and thought. The imagery that forms the inspiration for ‘Fragments’, is predominately taken from the North-East and brings together many disparate and contrasting elements that I encounter, often over prolonged periods of time. Reporting on daily experiences, putting down what I see in unique visual terms. I am fascinated with structures, buildings, signs, symbols, detritus and discarded elements that are the fabric of our towns and cities. I take inspiration from the world around me, with a compulsion to do something about and with it. Everything I use is relative, and everything is acceptable. Multiplicity, variation, and inclusion are essential in the compositions. Much of the work is built up with fragments of imagery that lose their original context, purpose, or identity, as they become absorbed into the compositions. There is a loss of pictorial definition between the photographic source and its subsequent re-worked appearance, as it is subjected to a series of stages that alters its original characteristics, enabling the reality of the image to flee, leaving only a crude, and faded memory. Multiple images are layered and positioned for their visual appeal as shapes and forms, as opposed to any obvious correlation between themselves. Clues to original location, time and place become confused, as the imagery is conjoined, morphed, and juxtaposed, creating jarring narratives. As a series of works, they tell their own stories. They are a visual document of my experience. Text is also a crucial, integral, and recurring element in all of the work. Wording in books, song lyrics and titles, street signage, packaging are but a few of the sources that I use. Text forms the titles or inspires the creation of a particular work. The written word adds a wholly different dimension, as it can inform, add meaning, instigate, or mislead the viewer. I am interested in the appropriation of text in different visual contexts, it can be a distraction from the other elements, as we tend to rely on words for instruction, meaning and validation, but type is also beautiful in itself, with its variable shapes and forms that serve as a pure visual inclusion to the compositions.
‘Deconstructing the Construct’ The work is derived from personal experience, memory, encounter, and thought. The imagery that forms the inspiration for ‘Fragments’, is predominately taken from the North-East and brings together many disparate and contrasting elements that I encounter, often over prolonged periods of time. Reporting on daily experiences, putting down what I see in unique visual terms. I am fascinated with structures, buildings, signs, symbols, detritus and discarded elements that are the fabric of our towns and cities. I take inspiration from the world around me, with a compulsion to do something about and with it. Everything I use is relative, and everything is acceptable. Multiplicity, variation, and inclusion are essential in the compositions. Much of the work is built up with fragments of imagery that lose their original context, purpose, or identity, as they become absorbed into the compositions. There is a loss of pictorial definition between the photographic source and its subsequent re-worked appearance, as it is subjected to a series of stages that alters its original characteristics, enabling the reality of the image to flee, leaving only a crude, and faded memory. Multiple images are layered and positioned for their visual appeal as shapes and forms, as opposed to any obvious correlation between themselves. Clues to original location, time and place become confused, as the imagery is conjoined, morphed, and juxtaposed, creating jarring narratives. As a series of works, they tell their own stories. They are a visual document of my experience. Text is also a crucial, integral, and recurring element in all of the work. Wording in books, song lyrics and titles, street signage, packaging are but a few of the sources that I use. Text forms the titles or inspires the creation of a particular work. The written word adds a wholly different dimension, as it can inform, add meaning, instigate, or mislead the viewer. I am interested in the appropriation of text in different visual contexts, it can be a distraction from the other elements, as we tend to rely on words for instruction, meaning and validation, but type is also beautiful in itself, with its variable shapes and forms that serve as a pure visual inclusion to the compositions.
‘Deconstructing the Construct’ The work is derived from personal experience, memory, encounter, and thought. The imagery that forms the inspiration for ‘Fragments’, is predominately taken from the North-East and brings together many disparate and contrasting elements that I encounter, often over prolonged periods of time. Reporting on daily experiences, putting down what I see in unique visual terms. I am fascinated with structures, buildings, signs, symbols, detritus and discarded elements that are the fabric of our towns and cities. I take inspiration from the world around me, with a compulsion to do something about and with it. Everything I use is relative, and everything is acceptable. Multiplicity, variation, and inclusion are essential in the compositions. Much of the work is built up with fragments of imagery that lose their original context, purpose, or identity, as they become absorbed into the compositions. There is a loss of pictorial definition between the photographic source and its subsequent re-worked appearance, as it is subjected to a series of stages that alters its original characteristics, enabling the reality of the image to flee, leaving only a crude, and faded memory. Multiple images are layered and positioned for their visual appeal as shapes and forms, as opposed to any obvious correlation between themselves. Clues to original location, time and place become confused, as the imagery is conjoined, morphed, and juxtaposed, creating jarring narratives. As a series of works, they tell their own stories. They are a visual document of my experience. Text is also a crucial, integral, and recurring element in all of the work. Wording in books, song lyrics and titles, street signage, packaging are but a few of the sources that I use. Text forms the titles or inspires the creation of a particular work. The written word adds a wholly different dimension, as it can inform, add meaning, instigate, or mislead the viewer. I am interested in the appropriation of text in different visual contexts, it can be a distraction from the other elements, as we tend to rely on words for instruction, meaning and validation, but type is also beautiful in itself, with its variable shapes and forms that serve as a pure visual inclusion to the compositions.
‘Deconstructing the Construct’ The work is derived from personal experience, memory, encounter, and thought. The imagery that forms the inspiration for ‘Fragments’, is predominately taken from the North-East and brings together many disparate and contrasting elements that I encounter, often over prolonged periods of time. Reporting on daily experiences, putting down what I see in unique visual terms. I am fascinated with structures, buildings, signs, symbols, detritus and discarded elements that are the fabric of our towns and cities. I take inspiration from the world around me, with a compulsion to do something about and with it. Everything I use is relative, and everything is acceptable. Multiplicity, variation, and inclusion are essential in the compositions. Much of the work is built up with fragments of imagery that lose their original context, purpose, or identity, as they become absorbed into the compositions. There is a loss of pictorial definition between the photographic source and its subsequent re-worked appearance, as it is subjected to a series of stages that alters its original characteristics, enabling the reality of the image to flee, leaving only a crude, and faded memory. Multiple images are layered and positioned for their visual appeal as shapes and forms, as opposed to any obvious correlation between themselves. Clues to original location, time and place become confused, as the imagery is conjoined, morphed, and juxtaposed, creating jarring narratives. As a series of works, they tell their own stories. They are a visual document of my experience. Text is also a crucial, integral, and recurring element in all of the work. Wording in books, song lyrics and titles, street signage, packaging are but a few of the sources that I use. Text forms the titles or inspires the creation of a particular work. The written word adds a wholly different dimension, as it can inform, add meaning, instigate, or mislead the viewer. I am interested in the appropriation of text in different visual contexts, it can be a distraction from the other elements, as we tend to rely on words for instruction, meaning and validation, but type is also beautiful in itself, with its variable shapes and forms that serve as a pure visual inclusion to the compositions.
The Crack magazine. Art exhibition. Article. Review. Dystopian Artist. North East England. Mixed Media
The Crack magazine. Art exhibition. Article. Review. Dystopian Artist. North East England. Mixed Media
The Artist. Conrad Milne. Dystopan Artist.

The Exhibition: Slideshow