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Hidden deep in the painting studios, amid stacks of his peers paint smeared canvases, hangs the work of Chris Burger. At first, Chris’ drawings appear as mathematical constructs, but the forms raise more questions about reality than about maths itself.
Although there is a machine like quality to the images Chris creates, there is something very human in the forms themselves, perhaps this is down to the recognisable sequences and order of the work. The forms come out of the page, grasping the audience as the crisp shapes stand solidly in the drawn space.
Perspective is a large part of Chris’ work, as well as exploring drawn illusory space. He takes aspects of the fundamentals of drawing and uses them to question how we see the drawn forms. Taking ideas from reality, such as the motion of the hands of a clock, and transforming these into a sequential diagram, Chris then translates this into a three dimensional image, or as he would see it, a two dimensional drawing pretending to have three dimensions. “Our mind perceives lines at a certain angle and combinations of these lines create a space.”
Much like the work of Sol Le Witt, Chris uses mathematical systems to represents subjects of reality. The forms are as important as the process of drawing them, though this unseen part of the work is perhaps more for the artist than a viewer of his work. Chris’ works are meticulously planned but this absolute control in his work comes at a price; he describes the “painful detail” in attaining such precision in drawing out the forms.
These works bridge the gap between the theoretical world of Maths and the order we see in the real world that these theories describe. Unfortunately it is all an illusion, a drawn image on a piece of paper, which Chris is very much in control of.