“We [as painters] are in the business of creating images that can hold the gaze for centuries.”
—KEZ HUGHES
ne of my favourite painting techniques is “scumbling”, an onomatopoeic word that describes a dry brush method where the painter creates feathery motions, building moody colour graduations. This technique finds echoes in Kez Hughes’s process. She layers representations of other artworks and objects to confound ideas of authenticity and originality. Her penchant for formalist painting provides a home to challenge how signifying functions change when an object is transposed into a
