PJ Hickman
PJ Hickman’s paintings often fulfil only the minimum requirements of the medium. His work is characteristically based on a Minimalist aesthetic of extreme simplification, repetition and reduction. The creative process is straightforward, matter of fact, ordered, rational and systematic, which together with other determinants adopted (such as the paint used) limit the subjectivity of aesthetic decision-making. The practical process is only what is essential and logical, with all components given equal emphasis and consideration. His intention is for simplicity and rigorous economy without deliberate or elaborate intervention and variation.
Hickman often works in series, using the same paint, composition, format, materials and support. This standardised approach allows the same painting to be painted over and over. Any variation between each painting occurs unintentionally as a result of the painting process or refinement of technique and materials.
Hickman also uses text, often of other artists’ names, such as Venice Biennale (2007) 2007 and Venice Biennale (2009) 2009 (both in the collection of the University of Queensland Art Museum). The series AB EX 2013 (paint from the National Gallery of Australia) uses both the paint used on a gallery (NGA) wall and text of artists’ names. Each painting is reduced to the basic essence of a colour and/or an artist’s name. Authenticity is contradicted by the declaratory simple and direct appropriation of the artist’s name.
His ‘blank square’ paintings (with the same dimensions and composition as Malevich’s versions of Black Square) are pared down to the subtly modulated raw canvas support within the framework of a highly reductive geometry which is refined in graphic simplicity, and tending towards monochromatic or chromatic neutrality. The eloquently economical timber frame paintings empty out the pictorial surface, epitomising Mies van der Rohe's dictum that ‘less is more’. Frank Lloyd White 2004 is paint from the Guggenheim Museum NY, whilst Builder’s Oxides is oxide powders used to colour cement. Stripped to their bare structure, the timber frames outline the wall with a monochromatic band, occupying the space between picture, relief and architectural entity.
Hickman’s use of standardised materials and defined processes allows for accurate (re)production of an identical painting, undermining commercial and artistic notions of authenticity and originality and the increasing commoditisation of art. The paintings refer to both the traditional markers of painting and the physical space and philosophical construct of the gallery in which the work is displayed – the white box itself.
Hickman often works in series, using the same paint, composition, format, materials and support. This standardised approach allows the same painting to be painted over and over. Any variation between each painting occurs unintentionally as a result of the painting process or refinement of technique and materials.
Hickman also uses text, often of other artists’ names, such as Venice Biennale (2007) 2007 and Venice Biennale (2009) 2009 (both in the collection of the University of Queensland Art Museum). The series AB EX 2013 (paint from the National Gallery of Australia) uses both the paint used on a gallery (NGA) wall and text of artists’ names. Each painting is reduced to the basic essence of a colour and/or an artist’s name. Authenticity is contradicted by the declaratory simple and direct appropriation of the artist’s name.
His ‘blank square’ paintings (with the same dimensions and composition as Malevich’s versions of Black Square) are pared down to the subtly modulated raw canvas support within the framework of a highly reductive geometry which is refined in graphic simplicity, and tending towards monochromatic or chromatic neutrality. The eloquently economical timber frame paintings empty out the pictorial surface, epitomising Mies van der Rohe's dictum that ‘less is more’. Frank Lloyd White 2004 is paint from the Guggenheim Museum NY, whilst Builder’s Oxides is oxide powders used to colour cement. Stripped to their bare structure, the timber frames outline the wall with a monochromatic band, occupying the space between picture, relief and architectural entity.
Hickman’s use of standardised materials and defined processes allows for accurate (re)production of an identical painting, undermining commercial and artistic notions of authenticity and originality and the increasing commoditisation of art. The paintings refer to both the traditional markers of painting and the physical space and philosophical construct of the gallery in which the work is displayed – the white box itself.
Old Master, 2014
Acrylic and polyurethane on reverse of black primed canvas
Each painting 41 x 66 cm (6 paintings, installation variable)
Acrylic and polyurethane on reverse of black primed canvas
Each painting 41 x 66 cm (6 paintings, installation variable)
Titian (from Old Master Series), 2014
Acrylic and polyurethane on reverse of black primed canvas
41 x 66 cm
Acrylic and polyurethane on reverse of black primed canvas
41 x 66 cm
AB EX, 2013
Acrylic on and polyurethane on reverse of black primed canvas, cardboard boxes
Each painting 30 x 40 cm [8 paintings and boxes, each painting 2 panels, installation variable]
Acrylic on and polyurethane on reverse of black primed canvas, cardboard boxes
Each painting 30 x 40 cm [8 paintings and boxes, each painting 2 panels, installation variable]
ROTHKO, Mark (from AB EX Series), 2013
Acrylic on and polyurethane on reverse of black primed canvas, cardboard box
30 x 40 cm
Acrylic on and polyurethane on reverse of black primed canvas, cardboard box
30 x 40 cm
Black Echo (Blue triangle, Red Square), 2013
Acrylic and polyurethane on reverse of black primed canvas
Each painting 79.5 x 79.5 cm [2 paintings, installation variable]
Acrylic and polyurethane on reverse of black primed canvas
Each painting 79.5 x 79.5 cm [2 paintings, installation variable]
[Blank] Square (1927), 2013
Acrylic and polyurethane on reverse of black primed canvas
106 x 106 cm
Acrylic and polyurethane on reverse of black primed canvas
106 x 106 cm
Blank Square (2), 2013
Acrylic and polyurethane on reverse of black primed linen
79.5 x 79.5 cm
Acrylic and polyurethane on reverse of black primed linen
79.5 x 79.5 cm
Same Same, 2013
Acrylic and polyurethane on reverse of black primed linen
Each painting 91.5 x 91.5 cm [2 paintings, installation variable]
Acrylic and polyurethane on reverse of black primed linen
Each painting 91.5 x 91.5 cm [2 paintings, installation variable]
Flag P A I N T I N G, 2012
Acrylic and polyurethane on reverse of black primed canvas
Each painting 30 x 40 cm [8 paintings, overall dimension 152 x 91 cm]
Acrylic and polyurethane on reverse of black primed canvas
Each painting 30 x 40 cm [8 paintings, overall dimension 152 x 91 cm]
House Painter, 2012
Acrylic and polyurethane on reverse of black primed canvas
Each painting 30 x 40 cm [4 paintings, installation variable]
Acrylic and polyurethane on reverse of black primed canvas
Each painting 30 x 40 cm [4 paintings, installation variable]
White Box SOLD White Square (Series A Painting) 2009
Acrylic on canvas, cardboard boxes
Each painting 30 x 40 cm [4 paintings and boxes, installation variable]
Acrylic on canvas, cardboard boxes
Each painting 30 x 40 cm [4 paintings and boxes, installation variable]
Venice Biennale (2009), 2009
Acrylic on canvas, cardboard boxes
Each painting 30 x 40 cm [4 paintings, installation variable]
Acrylic on canvas, cardboard boxes
Each painting 30 x 40 cm [4 paintings, installation variable]
Recent Paintings, 2006
Blue timber veneer on timber
Each painting 116.5 x 116.5 x 11.5 cm [10 paintings, installation variable]
Blue timber veneer on timber
Each painting 116.5 x 116.5 x 11.5 cm [10 paintings, installation variable]
Six, 2005
Acrylic on timber
118 x 118 x 7 cm
Acrylic on timber
118 x 118 x 7 cm
Ad Infinitum, 2004
Oil on timber
152 x 152 cm
Oil on timber
152 x 152 cm
Frank Lloyd White, 2004 [Edition of 6]
Acrylic on timber
98 x 98 cm
Acrylic on timber
98 x 98 cm
Oxide Green [from Builder's Oxides Series], 2004
Oxide on timber
98 x 98 cm
Oxide on timber
98 x 98 cm
White Flag, 2000
Kaolin on MDF and timber
123 x 123 cm
Kaolin on MDF and timber
123 x 123 cm
Drawing (Medium), 2000
Graphite on timber
97 x 97 cm
Graphite on timber
97 x 97 cm
