In Maloney's Bodies In Trouble, painting and archival inkjet prints are used to demonstrate self-conscious connections between process and concept. Full of fragmentation and layering, the different mediums inform each other while remaining autonomous in form and content. Characterised by Maloney's imperative use of black, the works insist that there is no one way of looking which will contain every pictorial possibility - the works may be black and white, but the reading is not this simple. For Maloney, black evokes visual and conceptual complexity, sensuality and depth, as well as being imbued with the associative properties that strengthen his primary metaphor of the work of art as an expression of human experience. The overtness and frenetic obsessiveness of the surface activity is unstoppable - a sort of vortex into which both viewer and maker are consumed. Viewers cannot expect to remain static receptors of images - for Maloney the success of each work demands active engagement from his viewers on a range of levels. Maloney's abstract and expressive language in the paintings turns to realism in the digital prints - exploring male homosexuality and the use of photographic image as a technological tool of subversion, incisive comment and political and social change. Maloney's nudes reveal an objective intimacy that is revelatory of a distanced and intellectual treatment of his subject, yet simeltaneously does not deny the sensual aspect of the nude. Process, as always with the artist, is an integral and encompassing aspect of his conceptual, thematic and aesthetic concerns. The layered structures of the paintings are given digital equivalents in these embracingly coercive pictures. The paintings and digital prints are eloquent and powerful statements about the role of art as commentator and agitator.
Peter Maloney, 2010, installation detail.