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In this series of works I have sought to emulate the B&W photocopy machine which prints black toner powder fused onto paper in different densities to create light and dark. I prepare a canvas or board with layers of white gesso, this equals the paper of the photocoppy process.
The DISCIPLINE is that I use only black acrylic paint which is diluted to create the lighter tones and
at full strength for dark or black areas. It would be quicker and easier to use white to create value differences, but the effect is very different and not at all like a photocopy.
This means perhaps anachronistically, that the paintings are also very much about the slow and careful expenditure of time. In that way differing greatly from the speedy mechanistic process I seek to echo.

Jocelyn Gregson November 2004

Arts SIMON BLOND
WeekendExtra The West Australian
Saturday 4 December 2004

Simon Gevers and Jocelyn Gregson each have a solo show at Dusseldorf. Their paintings on the surface couldn't be more
different.
Gevers' show is called I Like Painting. It's a commitment to the pure aesthetic that Greenberg famously claimed for abstract painting in the 1940s. These canvases have no meaning, no reference to the outside world. Like music, they exist for the enjoyment of the delight they give to the senses.
Most of the works consist of a number of careful vertical strokes of a brush filled with a diluted paint over a
contrasting underpaint. In White .Happiness, for example, there are two underpaintings in orange then blue. Over
this, the vertical brush strokes are in a diluted white. The result is quite beautiful.
The blues and oranges are glimpsed here and there in muted form through a white veil of decreasing density.Although essentially without direct - outside reference, I couldn't help being aware of associations on a less conscious level, connections to mists and snowstorms as well as to the symbolic meanings of milk and sperm.
Numbers 1-6 in the catalogue hang beside each other with colour contrasts that are too sweet so that the individual works start to seem merely decorative. This is something Gevers needs to watch.
In his more subdued works, however, he is an painter that I enjoyed immensely.

Jocelyn Gregson's show is called Discipline. In it, she uses only black paint on a white, gesso, prepared surface to emulate the effects of photocopying. This is a double denial, both of the sensuality
of colour and the personal mark of individuality.The austerity of means also contrasts with her subject matter, flowers. These are painted with a slow, meticulous method from deep resonating blacks to thin washes leaving as white highlights the untouched gesso ground.
Discipline XII explores the male principle, fore grounding the phallic arum lilly against the anthers of an open flower and the faint suggestion of grasses emerging from velvety, black depths.Discipline XI is more female, showing the soft folds of an open rose.
There is a still beauty in Gregson's work. In spite of the austerity of a meticulous technique and a total absence of colour,
there is also a sensuality which is enhanced by the discipline of restraining it.