Disengaged with more conventional and socially regulated interests and activities, the youths of today have become enchanted by the dense and boundless nature of their urban environment. It is a fascination that has evolved into a rich, but difficult to define culture, operating on social, artistic, physical and intellectual levels. Subcultures such as graffiti, skateboarding and underground raves are well established and individually specific, but are united by the core element of exploration and connection to the environment in which they exist. Outsiders to such a world often perceive it as delinquency, without aim or meaning, perhaps criminal. There is of course, truth in such perceptions, but missing is an understanding of the energy and passion that sustains these cultures.
Writing on walls and dance gatherings are as old as humans themselves. The increase of security cameras and social media has blown these subcultures into the mainstream, and has allowed for major advertising companies to appropriate these ideas. Primal and animalistic behaviors are somewhat repressed in modern society as technology is rapidly changing our lifestyles.
Social media has greatly increased the scale of the culture and enhanced my understanding. Individual photography profiles (Instagram, etc.) allow for an intimate and current understanding of today’s trends and styles, and have become a large part of my research.
The environment in which I exist consists of many different elements taken from a diverse range of places traditions and ethnicities. This is reflected in my subject matter and style of painting. Due to Australians multiculturalism and history my style is a pastiche of technique taken from a large foundation of inspiration.
This body of work is a series of large-scale oils and spray-paint on board. The gloss finish and sheer scale of the works create a cinematic element as the works dominate the space. My images of gatherings and jamborees are striking in their vivid colour, but are without a clear sense of place. My experimental painting technique allows for unpredictable mark making, knives and sandpaper are used to scratch the surface and uncover underlying layers. Splattered marks are produced by puncturing high pressured spray-paint cans and off-cuts of wood are then pushed through the wet paint to create rough textures and violently excited marks.
I aim to represent the cultures that I am immersed in, by conveying my own perception of them as a body of large-scale paintings on 3mm MDF boards. Through thickly applied layers of paint I try to capture the essence of the experiences that I have observed.
CV Richard Glenn
DOB: 7.4.1992
2012 - E 55
Five Panels
2013 - RMIT Graduate Show
Close to 200 Group Show
2013 - Monday Week Gallery
Illegalise – Painting and Installation by Richard Glenn
2014 - The Town Hall Gallery
Community Project Wall
Escapism
Acquisitions
Mr Brown Stone Café, Ashburton | 
