Laurie O'Dowd

Art is process for Laurie O'Dowd. 'Drawing Experiment 1' and 'Drawing Experiment 2' are full of the charcoal marks testifying to intuitive processes of pattern making, and a loose, open approach to the formation of marks and composition, the artist guided by the media. At times the marks seem to resemble something - aspects of machinery perhaps, rock faces or piping, but the element of abstraction prevails and the concrete is only ever hinted at. The striations branch and ripple like water, like leaves in the wind, or bow out like the rings marking the years on a tree stump. Despite their status as 'experiments', these works are nonetheless rich with possible associations. Similarly, whilst the title of 'Acrylic Palette' hints at something accidental, strong black lines frame what could have been a happy chance of paint and process, creating instead a balanced composition suggesting abundant flowers or faces in deep, vibrant tones. In 'The Rattler' and 'Self Portrait in Progress', squares, right angles and patterned blocks of colour come to the fore. The tone and shape of the blocks in 'The Rattler' have the quality of light through stained glass, whilst the incongruity between the title and the content offers fruitful new avenues to consider just what aspects of the 'self' a self portrait can investigate. 

David Blyth, Contemporary Art Practice Course Leader and Academic Strategic Lead (Fine Art) at Gray's School of Art:

Laurie challenges pre-conceived ideas about what painting is and can be. He works with AI and codes to enhance the live experience, creating interactive dialogues through audience participation. Laurie employs a continual curiosity to his ideas, manifested in the changing platforms within the gallery space.