Alex Hamilton

                      Click here for A short video about my next show 

    "I Built A Road Which Had No Purpose" @  Deakin University Project Space                                                    August 2020

                           (postponed during Corona virus lockdown) 

 Ford Motor Works North Facard (Nope) 90

Ford Motor Works Nope Drawing 90.5x141.7cm 

Click on image "Koch Fountain Met Manhattan 1"  to see a short film of the drawing and book exhibition 

 “The Weird Wiles of Reprehensible’s Pensibles"

Alex Hamilton @ Pablo’s Birthday New York  26th of November 2017 to the 7th of January 2018

My core activity is drawing significant urban, rural and metropolitan sites.  Photocopying on paper, I enlarge photos I take, using erasure as part of redrawing and re-planning the site.


Just as a drip or pour of paint announces a painting, so at first glance my style of drawing has the visualising facility of architects’ illustrations of past, present, or future constructions. We then notice texture, words, surface, and the drawings support materials, as the structure of our eyes is utilised.

My drawings can be seen as parallel realities - something just as likely to happen at any time, and just as real as the geography describing the places we inhabit.  

Geography was once a horizontal scenographic conception of earth’s surface. The new geography where any level or space can be tracked to any other, the changing conception of “land surface”,and the colonisation of sky and subterranean space is an amorphous everchanging 3D geographic syntax.    

This fuels my interest in, and use of, narrative structures of conflicting perspectival syntaxes,  "extinction illusions" and spaces between indeterminate fragmentary horizon lines.  A closer look shows this treatment of space can speak of social, economic, political and “overt no-go-areas”, revealing hidden landscapes of sovereign or economic empires and their mechanisms, which trace their presence throughout our urban rural and metropolitan environment.


The place names of sites I photograph and use as titles, go some, but not all the way, in describing a place, thus acknowledging distance.  Distancing as ongoing consideration, also occurs as I rework and reconfigure the same photos many times in a series of contradicting and categorical breakings with the preceding drawing.


My drawings work with the photosensitive photocopy technology of melting and shaping emulsion powder onto surfaces. Photocopying is now an anachronistic technology, its changing role marks a distance in time.