Creative Global Network for the Visual Arts

Mark Sibley
  • Male
  • Northampton
  • United Kingdom
Share on Facebook
Share on Facebook MySpace

Mark Sibley's Friends

  • Wendy Jasmine
  • Rise Art
  • Sophie Derrick
  • Jonathan Alibone

Mark Sibley's Groups


Mark Sibley's Page

Profile Information

Relationship status
College / University
University of Northampton
Program / Degree
M.A Fine Art
June 1, 2013
Member type
Artist, Curator
If you're an artist, what kind of art do you make?
Conceptual, Drawing, Painting, Photography
I am...
a full time practising artist. I am in my mid thirties and married. My B.A (hons) in Fine Art was completed back in 1999. I am due to complete my M.A. in 2013.
About my artwork
The advancement of technology and communication seems to mean almost endless choice and on one level the ultimate freedom for the individual, meaning I can make choices previously unconceivable and multi directional. This freedom of choice however can also be seen as negative, having the potential for my sense of dissatisfaction: have I made the right choice? What are the other choices? For me this complexity creates a negative psychosis and strong increase in my existential anxiety. Our fragmented post-modern society with the dissipation of social narratives such as religion has the paradox of greater freedom of thought yet brings with it the need for more answers, and increases my obsession with death, neurosis, displacement, and paranoiac alienation. However the alternative state of mind that interests me, might be to think that the complexity of choices, are unimportant, and lay in deference to the experience of the primary “self”, as the observer of his/her own reality, with self-determination to alter external experience with perception.

The research and develop in my painting practice, is a conceptual process being vital to theresolution (if there is one) of these issues. My use of the tradition of painting, and my working process to reflect, question and resolve seems paradoxical in that I fragment, dissipate and disassociate myself from my subject matter to ultimately bring a sense of meaning, unification and understanding of human life.

The subject (the face) has remained the central symbolic theme of my work for over 12 years.The 1999 painting ‘Self; in widescreen on the silver screen, was about process, fragmentation and dissecting my source material to make an image. This work is about the potential crossing over of watching television as a representational, passive experience, into the real material world experience. I question the nature of reality, differentiating from the tangible, real world is becoming more difficult and narrower in our multi-media society. Our increasing reliability on the virtual world (in the extreme) has resulted in individual’s almost entering virtual existence. This work was abstract, expressive and using colour, physically fragmented the face using over fifty joined canvases, in total, five metres wide, in order to bring about a self-portrait. I used television, photography and photocopy as processes. This was the culmination
of my BA (Hons) Fine Art work in 1999, now in the Barclaycard collection.

My work has evolved from this physical fragmentation (joined separate square, rectangular canvases) to monotone fragmentation within a single canvas on a mixture of scales. These recent works are made from experimentation in drawing and referencing from photography, and are manifestations of rhythms of shape relating to the face, made of tiny circular forms. This process of painting is repetitive to the extreme which can bring a meditative stillness and sense of satisfaction, but also frustration by the limits of the process itself. My practise allows me to contextualise the meaning of my art production, as well as develop on the allegorical, supportive themes with art theory. I am disassociated from my subject matter; I do not know the people I paint. They
are symbolic vehicles for my concepts, ideas and process, yet I regard my paintings as self-portraits in that they reflect my formal painterly interests as my sense of self reflection. My recent monochrome works are conducive to my subject matter of not only the face but more significantly the honesty elderly aged face. The black white contrast emphasises the nature of hardening wrinkles and skin, but more importantly the high contrast relates to fracture, reduction and shape. I find an attraction to the idea that these people have become special, significant, mainly because of their longevity. Reaching the milestones of 100, is recorded in my work to enable me to question my own
mortality and existential anxieties, but also I attempt to use a face as a narrative to reference the essentials of human experience.

I have recently been introduced to the ideas around quantum physics and the nature of particles, and this seems significant and evident in my practice: painting a multitude of small monochrome circles, cell-like in nature reflecting the physiological systems of the body, especially the regulation and sustainability of life. From birth, cells die and new ones are generated. This cycle of degeneration and renewal is not sustainable and senesance (aging) is certain. The infrastructure of the body has a blueprint for physical and chemical characteristics, but also in the historical sense, the linkage to ancestry. Hustvelt states: “Over time, they become markers of our mortality, small windows into the earlier moments in our lives” My recent paintings include collaborations with photographer Jayson Brinkler. His work is the culmination of ten years photographing centenarians, including the 114 year old Henry Allingham. Jayson’s photographs are monochromatic. I am fascinated with painting and its relationship with the qualities inherent in a photograph. The photographic image has an interesting neutrality of form, and a certain sense of coherence, as it has a uniformity of surface. According to Peter Doig “a painting (is) not fixed, still, like a photograph”. A painting, in my view, evolves, with exciting potentials with less tangible signifiers.
Artists I like
Francis Bacon, Peter Doig, Titian, Ribera, Rembrandt, Manet, Julie Mehretu, R.B Kitaj, Asger Jorn, Ashile Gorky, Alberto Giocometti, Helen Frankenthaler, Cy Twombly, Karel Appel, Luc Tymans, Clifford Still, Mark Rothko, Jackson Pollock, Helene Schjerfbeck, A R Penck, Ashile Gorky, VanGogh, Edvard Munch, Carravagio, Velasquez, James Ensor, Richard Diebenkorn, Leonardo.Dil Leberbrand.
Art, Science,History, Philosophy, Religion, Evolution.
Centre of the artworld:
London, nowhere and everywhere

Mark Sibley's Photos

  • Add Artworks
  • VIEW ALL ›

Mark Sibley's Blog

My Artist Statement.

I could describe my work as contextualised by a researching of ideas of scale, time and interpretation. I would compare ideas of my process with the physicality of matter. An atom has symmetry and structure, but also, it resonates matter that flashes in and out of existence. In that sense, there is a structure to my painting process. My work is deliberate and painstaking, but the fluidity of the unconscious, and the inevitability of chaos and accident remain part of the process. I attempt to… Continue

Posted on June 20, 2011 at 16:55

Comment Wall

You need to be a member of 4art.com to add comments!

Join 4art.com

  • No comments yet!


My links


© 2022   Created by 4art Media.   Powered by

Links | Badges  |  Report an Issue  |  Terms of Service