| The works—paintings, drawings, and constructed objects—consider the formless and the removal of narrative content. Devoid of representation, they occupy occasional and temporal sites of depiction. Undisclosed they entertain and inform contrivances of landmass, typography, and architectural configuration, embracing optical distortion in their circumvention of representational form. They draw on internal structures of mark, material, and geometry, creating volumetric masses akin to those of mounds, piles, and heaps. Central to the works are ideas of layer and visual obstruction. | 
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Charles Danby
Charles Danby, Untitled Geometric 06, 2008. Oil on canvas, 56 x 45cm. Courtesy of the artist.
The works—paintings, drawings, and constructed objects—consider the formless and the removal of narrative content. Devoid of representation, they occupy occasional and temporal sites of depiction. Undisclosed they entertain and inform contrivances of landmass, typography, and architectural configuration, embracing optical distortion in their circumvention of representational form. They draw on internal structures of mark, material, and geometry, creating volumetric masses akin to those of mounds, piles, and heaps. Central to the works are ideas of layer and visual obstruction. Pictorial frames are fractured and constructed objects readily include reflective surfaces that draw external content into the work, creating fragmentation and distortion. Moreover, they are visual paradoxes, related to, but divergent from formalist traditions of abstraction, creating through the here-and-now of their manufacture a site of contemporary opportunity and aesthetics. The works are visual propositions that court open reading. Constructions are configurations of slight device, marginal alterations, and adjustments enacted through handmade means. Their content is mute and undisclosed, offering a memorandum devoid of objective purpose. Miniature in scale, they inform a structural potential that is itself monumental. Drawings and paintings posit a space of formlessness and non-narrative structure, existing between rational form and instinctive mark. Disclosing facets of manufacture, each aspect of work—painting, object, and drawing—informs and engenders its counterparts whilst generating from its own point of subsistence. The works draw on a convergence of the 20th- and 21st-century histories, facilitating idea and concept as readily as visual component.
