Riley Beaumont’s current studio investigation involves creating a suite of large-scale paintings. The aim during the construction of the works is to use traditional materials whilst subverting the expected outcome of the processes involved. This relates the work to the history of non-intentionality and improvisation in painting, characterised by the movements of Dada and Surrealism, and more recently Eccentric Abstraction and Abstract Illusionism.
By exploring painting, sculpture and installation simultaneously he attempts to create works that encourage the viewer to exerperience a whole, bodily interaction with the body of work. Pushing and exaggerating the scale, chroma and material presence in the work is a way this can be achieved. Bringing the painting to a tipping point, peak, or climax can be reminiscent of the desired effect of hallucinatory trip or a sexual experience. This distortion, heightening, and sexual energy are desired effects that Riley aims to be visually represented through the works.
Untitled (Regret’s a paradise. Good as. I won’t even mention the gold (oro). Bread and the circus, baroque to broke. dead-set-excess), 2016, enamel, gold leaf, pigment and oils on linen, 180 x 130 cm, photographer Brenton McGeachie
More or Less, 2016, oils on linen, 180 x 130 cm, photographer Brenton McGeachie
Morning Sun Is Good For You, 2017, acrylic, enamel, and oils on canvas, 176 x 138 cm, photographer Brenton McGeachie
Elsewhere, 2016, acrylic, enamel, and oils on linen, 80 x 70 cm, photographer Brenton McGeachie
And Something Nape, 2017, acrylic, shellac, varnish, enamel and oils on linen, 180 x 130 cm, photographer Brenton McGeachie