The title of Marc Freeman’s exhibition is Cloudbuster. This term first came into being to describe Austrian psychoanalyst Wilhelm Reich’s pseudoscientific process of attempting to influence weather patterns by use of a ‘cloudbusting’ machine, pointed into the sky, in order to concentrate or disperse cloud formations. This unlikely scenario plays into the exhibition’s visual cues, and into Freeman’s method of production, by which forms and shapes are conjured into being; emerging or dissolving; coalescing or fragmenting.
As in the firmament, things here are in flux. Cloud-like forms drift constantly into and out of the picture planes, opaque, or with semi-transparent sections which have been swiped through them to reveal coloured fragments beneath. There is a concentrated light and space within these works, and a sense that the captured shapes and forms are part of a larger whole, which drifts out beyond the edges of the canvases.
Freeman arranges the elements in each work with a refined ‘collage sensibility’. The paintings are abstract, but the works also contain elliptical evocations of ideas and possibilities beyond themselves. Their synthesis of high- and low-tech methodology and their combination of structure and disorder, hard and soft focus, suggest that comprehension and knowledge are inconstant and unstable.
As the artist states: “You can be forgiven for confusing which side of culture or counter-culture you sit. Current technology will afford safe passage, whichever path you desire, knowingly or otherwise. Seeing is no longer believing.”