Lukas Orsanic
Haphazard Encounter
14.08.19 – 31.08.19

Haphazard Encounters considers the phenomenology of looking, roles of intention and happenstance through contemporary non-objective painting and installation. The body of work examines the perceptual energies of colour, duration, and materiality.
 
Drawing from the Optical Art movement’s intention to reveal and awaken vision through optical manipulation. The selection of bold, idiosyncratic works enliven over an extended duration of viewing and engage the viewer as an active participant.
The painting and install methods used interchange between intentional and accidental actions. Integrating incidental marks to interrupt the established formula, bringing forth questions of perceived intentions and moments of happenstance.
 
The paintings in this exhibition negotiate haphazard relationships while engaging in a dialogue between zones of intention and happenstance. The works harnesses chance within the formal context of hard-edge abstraction and through the installation of wall compositions. The installation of paintings engages the wall as an active space, drawing associations to the conceptual space of the grid. The paintings perform as unitary cells, yet further engage within the unified field of the wall.
 
Lukas Clark Orsanic is a Melbourne based practitioner, investigating the role of nonobjective painting within a contemporary context. He completed his Bachelor of Fine Arts (Honours) at RMIT in 2017 where he completed his research project ‘Haphazard Compositions and Surface Encounters’.
 
Orsanic’s practice examines the perceptual energies of colour, conditions of duration and process as a marking of time. The experience of looking is considered through varied painting processes and studio experimentation, stimulating viewer perception, encouraging an awareness of their visual processes and becoming an active participant.
 
Orsanic’s practice expands from the reworking of motives and methodologies established by the Op Art movement, whereby re-engaging paintings’ materiality through incidental inflections, whilst negotiating the roles of perceived intentions and happenstance.

EXHIBITION IMAGES 
(click to enlarge)