The paintings Adrian Hobbs makes are generated from a set of principles ubiquitous to the historic, philosophic and contemporary scientific qualifications of Chaos. These tenets (if you like) account for both the interior structure of Chaos, as well as it’s external expressions. In his paintings, the utilisation of these as a generative source for the work itself creates a kind of self-referential loop from internal/virtual structure to image/subject and back again that when explored through Painting increase and renew many of it’s historically-laden and conditioned possibilities.
In Hobbs’s work we see these possibilities expressed through the elementary components of painting itself: surface, material, illusory space (the subject), the frame or edge, and the object. He shows these for what they are or can be, stripped of institutional or academic loading. Wherein both the structure and the form are mutually apparent, one not disguising the other.
In his most recent paintings we see the same pictorial forms and devices used repetitively but not like in the sense of the multiple, a re-iteration or echo of something you might refer to as an archetype or virtual form. But instead as an individual, in every instance. He seeks to answer the question; how can a single form differ, how can it change while ostensibly remaining the same?