Colin Penno on Sunday-S
With his current series, Colin Penno presents a visually heterogeneous body of work based on a steered process of creation that partly leads to aleatory results. Often developing his pictures with the help of various printing techniques (e.g. silkscreen and wood printing), he creates complex pictorial fragments (sections of canvas), which are sewn together according to basic constructivist patterns to form one coherent image.
Penno employs silkscreen and wood printing in such a way that it is not a specific motif, but rather the imperfection and immanent imprecision of the analogue technique that become the foundation of the pictorial composition. The viewer recognizes colour prints of staples, gaps in the printing screen that result from the threads of the cut canvases, and other traces, which place the creative process itself in the centre of attention. In addition to his combination of various techniques and procedures, such as the partial bleaching of colours, the use of fleeting, subconscious painterly gestures and traces, including the rubbing of brushes and paint on the canvas, he also incorporates a broad range of materials, such as acrylic, oil, and spray paint, as well as bitumen.
In Penno’s pictures, one encounters final worlds of images, which – in the charged relationship between composition and chance, order and chaos, symmetry and asymmetry – transform their richness of detail into a highly specific and autonomous visual language.
Pennos work is represented by important international collections such as the Hort Family Collection, New York, collection Tanguy van Quickenborne, Ghent, Michel Delfosse, Hans Waege, Kortrijk, Altana Stiftung, Bad Homburg or Jennifer Parkin Collection, Toronto.colin penno