‘Kerb and Tyre Mark St Oswald’s Road’ – Involuntary Painting Gif 2015
Colin Murphy, Paul Conneally & Millree HughesMarch 2015
This work comes out of work by artists Millree Hughes and Paul Conneally as part of their project ‘Involuntary Painting 1 New Parks : New York’ with Soft Touch Arts and New Parks Library supported by ACE in New Parks, Leicester, UK.
Local resident Colin Murphy working with Paul Conneally identifies a section of kerb slabs and a tyre mark that runs it’s length as an involuntary painting.
Together Colin and Paul photograph the identified involuntary painting in sections using Paul’s iPhone.
The tyre mark reminded Colin of Robert Rauschenberg’s ‘Automobile Tire Print’, a voluntary work, which he made with composer John Cage in 1953 and which Conneally and Hughes (via video link from New York) had introduced to the NEW PARKS : NEW YORK group in New Parks Library before they hit the streets around the Library to identify and photograph involuntary paintings.
A series of prints that will be ‘stitched’ together to form a long roll up image of the kerb and tyre mark is also being constructed by Colin, Paul and Millree with the New Parks IP1NPNY Group, echoing Rauschenberg’s ‘Automobile Tire Print – 1953’.
Involuntary Painting 1 New Parks : New York
Note: The term ‘Involuntary Painting’ was first ‘invented’, coined and used in this context by Hughes to describe marks on objects, walls, buildings made by the weather, ageing, persons, animals, graffiti, abuse and other means, that he came across in his travels around New York, that seemed to him could be and were similar to modern paintings found in galleries and museums across the world.
Hughes, working with Conneally, developed the idea further, and together they came up with a simple way to describe what an involuntary painting was in the hope that by identifying and sharing such involuntary paintings they might encourage the reexamination of what painting is, has been and could be.
“Imagine that and alien lands on Earth programmed with all the knowledge of contemporary modern art but never having seen a painting. What might this alien mistake for a painting? These things, never intended as art, as paintings, are what we now propose as involuntary paintings” – Millree Hughes and Paul Conneally 2014