“Primitive Landscape.2”

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Primitive Landscape 2. Mixed media on paper, 50cm. x  70cm.

The trees about the cottage did not actually appear as I portrayed them in this image. There was so much more information for me to record.  Memories of the primitive sound of wind blowing eerily through otherwise impenatable undergrowth.  Ancient branches groaning in objection as one rubbed against another under relentless buffetting. Rustling foliage added to unidentifiable creaks and crashes. All combined to conjure a sense of primordial fear.

“Unfolding Tragedy”

Oil on canvas, 64cm. x  78cm.

I created this abstract work as my response to the dilema of refugees all over the world who leave their homeland in search of safe haven in other countries. The paper boat is my way of representing the type of unseaworthy vessel that many assylum seekers often find themselves crammed into.  It is testement to their desparation; their willingness to risk all for a safer future.

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“Crusading”

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Acrylic and ink on 300 gsm. paper, 50cm. x  70cm.

The application of layers of coloured scumbling, crazed by random marks, scribbled with twigs dipped in black India ink, is followed by intuitive editing.  Selecting shapes that appear from the paintings surface; highlighting and isolating.

It is a process akin to -pareidolia – where ones imagination is used to conjure images in the natural world, faces are often seen in clouds, or on bathroom floor tiles; figures on wall surfaces.  Look away briefly and back again; the image may be hard to detect or gone completely, only to be replaced by some other face or form.

It is the same with this image, my imagination impulsively selected what I thought to be a Knight Crusader.  Once accepted I continued, pushing logic from my mind.  Is the forming of such an image part of a subconscious memory?  maybe even of some television episode from a distant program? Who knows!  Other viewers minds would have conjured something completely different. It does not matter.

 

“Layers of Memory”

 

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Acrylic, ink and charcoal on 300 gsm. paper, 50cm. x  70cm.

I have come to regard memory – like my process of abstract painting – as never fixed, always in flux and infused by the multitude of present moments of recollection.

Memories – or the affective experiences that stimulate the memories – remain as invisible guides in my work, or perhaps are embodied within it.  Laying down images then intuitively erasing or overpainting to form new images suggests a link between creativity and memory itself.  Such a process of revising previous events, renders memory as active and always partially elusive.