Artist Daniel Ginns is fresh out of a degree in illustration at Camberwell, but as it turns out he’s a dab hand with a camera too. His series Rothko Walls records the walls in and around London which used to boast graffiti, and now display only the “free-floating geometric shapes” which remain after it has been badly concealed by a halfhearted paint-job. The new layer of paint is often “only a slightly different shade of colour from that of the original wall,” he explains, “creating imagery that could be considered reminiscent of the abstract expressionist painter Mark Rothko.”
We saw a similar idea captured a couple of years back by artist Chris Seddon’s book Correctionism, which just goes to show how far-reaching and aesthetically reminiscent of revered painters the phenomenon really is. There’s something heart-warmingly defiant in the idea that, by trying to remove one form of self expression, painters country-wide are actually creating another, which other artists are then capturing themselves; it just goes to show that you don’t need to erect billboards bearing masterpieces around a city to see art everywhere.