
Ink on 19th Century Paper
If painting, like any other language, can be considered an abstract system of signs, there must be a pictorial vocabulary and syntactical rules which communicate meaning, however subjectively. When individual expression and personal in(ter)vention subsume themselves under a principle of order, they derive a new lawfulness and new formal possibilities. His paintings are not necessarily abstractions but through figurative symbols and external references are amenable of multiple connotations, even when there may be a stated object.
The ink on paper drawings featured here play on the talismanic power of language and the written word. Neither the provenance nor the purpose of the magical processes intimated by the drawings is stated: they could be at once apotropaic charms, the means of commanding supernatural forces or a baroque red herring.
Arising from an examination of (predominantly) British prehistoric funerary monuments, his current paintings might be styled a form of anastylosis: an attempt to inflect fragments of mid-20th century painterly language with a 21st
45cm x 48cm
Wayne Summers
Pareidolia II
£500
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Wayne Summers

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Wayne Summers
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Wayne Summers
Sigil
£500M50cm to 1m -
Wayne Summers
All The Names Of God And His Angel
SoldM50cm to 1m -
Wayne Summers
From Their Confines Called
£500M50cm to 1m -
Wayne Summers
Psephomancy
£485M50cm to 1m -
Wayne Summers
Thorns
£500M50cm to 1m -
Wayne Summers
Pareidolia I
£500SLess than 50cm -
Wayne Summers
Cleromancy II
£500M50cm to 1m -
Wayne Summers
Abraxas
£500M50cm to 1m -
Wayne Summers
Tenemos/Vallum, 2018
£600SLess than 50cm
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