©2012 Nelson Diplexcito All rights reserved
For me, whether I’m making paintings, films or photographs... I’m always trying to communicate
something of the experience of seeing; the direct encounter with the image, the painting or the construction. I’m interested in the ‘other thing’, the space, the tone, a sense of its time, duration and
its resistance. It does not matter whether I’m holding a camera, pencil or a paintbrush it is the same -
to understand the image and experience something of the territory."
The resistant image within painting. In the most, documented accounts on how paintings are realised
are overly simplistic. This is not an attempt to mythologise the activity or the experience or be vague
about the considerations when making paintings. It is a fact I know to be true in the realisation of my
own paintings. These paintings, do not move from A to B to C towards a destination which you can
reflect upon and chart easily. For me painting is not like this. There are always detours, reversals,
omissions and revisions in their development. Sometimes these come from suspicion or doubts, that
what has been set down does not communicate the 'tone' of the material, source or memory. So you
go a little further, you go on and with persistence, time and an intense experience with the work,
something begins to 'stick', a visual dialogue is established, an encounter when you least expect it. If
you are fortunate the paintings assume form, things fall strangely and in one sense the work begins
to look back at you. It becomes resistant to your changing. In short a resistant image"