Scribbly Tree 2 Malcolm Koch Original painting for sale

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Scribbly Tree 2

Malcolm Koch

2024 • Australia • Oil, Wax on Metal

43 x 23 in

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Malcolm Koch

Australia

Artist highlights

International Exposure
Favorited by galleries
Featured in gallery curations
Works on commission

Discover the creation in interiors

Artwork details

Medium : Oil, Wax on Metal
Other details : Artwork on metal. Ready to hang. Framing on request.
Dimensions : 42.5x22.8in

About this artwork

This piece alludes to the bark on eucalyptus tree trunks that is synonymous with the Australian landscape. Exploring the intertwined relationships between the naturally occurring chemical and insectivorous processes inspired me to make this piece. Even though each sculpture mark could seem to be a separate expression, they are all interconnected. As a result, the expressions can be understood as having a dual nature, appearing as a mark distinct… from other markings as well as a part of a wave of expressions, suggesting that everything can’t easily be separated from its place within the whole.

Co-dependent interactions, however, are only visible in my art-making process when the outcomes are broken down and plotted on a two-dimensional flat plane. Consequently, the human visual experience was created, serving as a metaphor for how we view our place in the world that is vastly larger than ourselves.

Art has been sealed with a micro-crystalline wax polish.

Malcolm Koch

Australia

Credentials

International Exposure
Favorited by galleries
Featured in gallery curations
Works on commission

« Membrane Art is a doorway to endless possibilities. It’s heavily dependent upon the geometric surface which underpins it, and until it's unraveled, we are blind to all possible outcomes. »

My father is profoundly deaf, and my mother is deaf and blind. Although I am able-bodied and possess painting and drawing skills, I make an artistic choice not to execute my art conventionally. I produce my art with limited visual input to achieve my artistic objectives. Painting on curved structures enables me to do this. It is a blind process that enables me to explore chance outcomes and discover complete aesthetic images. I learn from these experiences and am obligated to accept outcomes that may not be aesthetically correct, but I must tolerate them. It is who I am, and it is the only way I feel authentic to my upbringing. It reflects my interactions with the world.

This body of work, which explores the enigmatic boundary between the present and the future, from the tension inherent in a curved surface to the tranquillity of a flat plane, it invites us on a transformative, non-linear journey, encouraging deeper contemplation and meditation on our observations.

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