Found Out Once, Twice, Thrice...

Catching up with the recent examples of ‘roadkill’ as found along a couple of sections of the local double black lines, incorporating also a coincidental additional formal element, circular in nature, in some form, common to all.

The first instance, as framed within its wider context, features of course the familiar bold structure & subtly-patinated colouration of the grating of a cast iron drainage grid, between the bars of which object is embedded (‘head first’) another, in the form of a second aluminium can, thus displaying its unadorned base. As might be appreciated, the circular form adds a complementary element to the compositional whole, characterized as that otherwise is by horizontal & vertical straight lines, particularly & microcosmically so as the ‘roadkill’ can itself is branded with a design of squares that might be playfully regarded as something of a little homage to Mondrian & the geometric rigour of the artist’s mature, signature style, especially in visual conjunction with the 'black' lines of the painted road markings, which might suggest a relation to the horizontals & verticals of Mondrian's grid structures.



A mere few yards further along, an encounter with more ‘roadkill’ in proximity to both another circular fragment of a second can & additional road markings in the form of the broad strokes of the white-painted border delineating a speed hump in the road: this latter aspect significantly disrupts the integrity of the monochrome of the double black-lined tarmac surface, of course, but still provides a noteworthy formal addition to familiar proceedings.



Another day, another location, but still, inevitably, there is ‘roadkill’ to be found, ubiquitous as it is, on one of those pleasantly satisfying occasions that occur during the journey to the day job, thus providing the feeling that at least a little proper, purposeful work has been accomplished prior to the time-compromising non-art duties.

Here might be observed, pictorially framed within a ‘tactile’ spatial continuum, a can branded with a design featuring a circular element to complement the otherwise linear angularity – admittedly a loose connection with the two previous examples, but a recurring echo nonetheless, & a feature of recent developments as encountered & recorded.
Note also the extensive ‘archaeological’ evidence of the history of the road markings’ painting, the process of such, with, on the upper of the pair at least, a significant amount of the original yellow visible through the deteriorating layers of overlaid ‘black’, providing both colour & textural detail.