The dot is the most basic, unembellished mark it is possible for a human to make. The dark sucker-punch between every sentence. The pause for breath. The comma in disguise.
It is the finger dipped and pressed upon a surface, a raw and simplistic human expression. The same as those ancient Lascaux cave paintings from sixteen thousand years or so ago.
What is the dot, besides a dot?
Is it a “singularity” on the cusp of a big bang? Or is it a subatomic particle, impossibly yet suitably magnified? Maybe it is half of a Morse code, painfully unable to reveal its secrets?
In accompaniment to your artwork, there is…
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It’s a beautiful evening.
You have some friends coming round.
For drinks maybe.
And something to eat.
Gradually they arrive with their familiar smiles and catch-up talk.
Your iDot painting has arrived too,
now suspended proudly upon a feature wall,
drawing some admiring enquiry from friends.
You tell the story.
And everyone agrees…
Some artistic small print...
The deep textures within the white-topped layers surrounding the centre dot capture the light in different ways, so the surface varies through differing lighting conditions.
In this way, what appears at first to be an expanse of plain white is forever changing, adding time and movement to a picture which is essentially fixed. Like seasons passing through a landscape.
The iDot (like much of Steve’s current work) involves taking an everyday visual and then placing it within its own space and idea. Suddenly the meagre dot has power, drawing the eye to it.
The iDot is unavoidably everywhere and is copied all the time. This infuses the work with universality. Anyone and everyone can make this, or a version of it. The sucker punch between every sentence. The divider that makes text make sense.
The central circle plays a perspective game with the square that holds it, the surrounding layers becoming denser, the closer to the dot they become. The iDotis the vanishing point.
There is a long artistic tradition of reducing images to their core elements. Simplification is probably (whether by intention or design) one of the strategies that exist at the foundation of all art, transforming the real or imagined into a picture or object.
Think of The Bull by Picasso, where a complexly representative image of the animal transforms (or “destructs”) over the course of 11 lithographs into just a handful of lines.
Whether it be a phone or some other technological mechanism, the “i” suggests both ownership and the power of consumer choice for the individual. It personalises the object or operations to the owner or operator.
The iDot comments (or at least promotes or encourages comment) but it does not judge. It simply hangs there, watching and waiting. Which might well be the wisest course of action to take in many situations.