Kyle Michael Pattinson

About

I prefer to ask questions that provoke and stimulate an audience and demand a forum for intellectual discussion and debate, rather than answering questions with insufficient outputs or artificial sweeteners. I want to bring into light my findings and share the joy that art and reading has brought me throughout my life. I do all my own original writing and sometimes I like to incorporate quotes from literature to help summarise my work, demonstrating the link to my inspiration and combating ChatGPT. My MA work has been heavily influenced by classic American literature and I have enjoyed every sentence of their discovery. I know why I make the work I do: from calibrating the theoretical/conceptual aspect and use of colour to selecting the imagery and matter it will take. It is the big overarching questions, I sometimes like to leave open to interpretation as this has allowed me to further my critical conservations with other practitioners and expand my field of knowledge, travelling through avenues of creative thought that I may have not previously considered. Like the sculptor Joseph Beuys, who’s moulding processes of art are a metaphor for the moulding of society, through the pressing processes of art, I have become not a printer but a cartographer who is composing a new reality into existence, which is perhaps more preferable than our own. It was well documented that Van Gogh suffered from regular bouts of melancholia. He believed that it lead him to a place of deep reflection that gives a greater insight into nature, life and humanity. I believe through research and reflection that we can recalibrate our collective optics and develop a greater understanding of society and its problems so that everyone can benefit. In my practice, I utilise all printing processes available to me, including: screenprint, letterpress, etching, lithography, relief printing and photo polymer and try to integrate them where appropriate. Although, to begin this process I always start with a drawing; drawing is a fundamental and crucial component of my practice and it enables me to experiment with new ideas and formulate plans.

Recommended reading:

The Grapes of Wrath (1939) by John Steinbeck

Animal Farm (1945) by George Orwell

To Kill A Mockingbird (1960) by Harper Lee

Ways of Seeing (1972) by John Berger

Vincent van Gogh Drawings Volume 2 (1997) by Sjraar van Heugten and Van Gogh Museum

Joseph Beuys: Actions, Vitrines, Environments (2004) by Mark Rosenthal, Sean Rainbird, Claudia Schmuckli and Joseph Beuys

Gerhard Richter: “Lines which do not exist” (2011) by Gavin Delahunty and Gerhard Richter