Monday, September 9, 2013


Giles Ryder_Dazed and Blazed II_2009-10_metallic and pearlescent auto paint on aluminium_100 x 120 x 15cm

Why did you decide to become an artist?

The corporate job wasn’t paying enough. 

Can you explain the process behind your work and the inspiration behind this process?

I often use a combination of industrial materials and readymade objects influenced from my industrial painting background in conjunction with the effects of modern life, producing a very specific aesthetic. Using the hard, reflective surfaces of advertising and consumerism in coordination with pared back, geometric abstract paintings. I work across media and medium and style, from high finish lacquer works to light works, mirrors and free formed foam works, this is all presented and situated within spatial installations that react to the minimal rendering of space and to that of the object, presenting minimal works with maximal energy.

Conceptually what are the ideas and concepts being explored and conveyed through your work?

I can say for me conceptually that the art ‘context’ isn’t locked in and is a shifting and - a fluid thing. The context is only locked down if the artist themselves isn’t able to move across into differing zones. My works often have subtle perceptual shifts whether it is in his light installations, paintings or use of materials. For me it is not a question of materiality or formal categories; it is the associated meanings that are culturally embedded in matter as well as the experiential qualities of site, language, space and the formal reference points that are positioned in an off-kilter fashion.

What are your key influences as an artist?

In no particular order: People, Places, Spaces, Architecture, Music, Dystopia, Women, Elegance and Decadence, Museums and Structures, Order and Disorder, Mysticism and Formalism, Kitchens and Bars. 

What is it that you want audiences to take away from your work?

That depends on what aspect of my work that you are looking at but importantly it about perception and experience and that is up to the viewer, and this is controlled by the works.

Art is a mental and visual and social thing – however it might also be able to evacuate all or a few of the above mentioned things.

Tell us about one highlight from your career so far…

I have had a few highlights most of them are at an international level, one was the receiving the Anne & Gordon Samstag International Scholarship (2008) to undertake both professional development and research and receiving at Masters Degree with KHB, Berlin. As well as being an Asia Pacific fellow with the National Studios, Seoul Korea (2011) for 5 months. Recently receiving experimental and project development funds with the ATI to work in Thailand, this has led me to my current posting in Bangkok.

What else do you have coming up in the near future and what are you working on next?

Well I’ve been working with in Australia, Europe and Asia for a while. I can say that I have been lucky and that I have strong links to all of these places, this is ongoing. I have an exhibition upcoming with H gallery, Bangkok / Chiang Mai. I recently developed a new two screen video work projected in public spaces with White Street Projects, Victoria.

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