19 Views
2
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Painting, Oil on Canvas
Size: 39 W x 39 H x 0.7 D in
Ships in a Box
19 Views
2
I was inspired to paint 'Broken Flora' after reading an article on dirty mining and the effect it has on ecosystems around the world. It's based on flora possibly becoming extinct. It becomes 'broken' within the disharmony created by man but fights back. The style used illustrates the damage caused through mining for construction of wind turbines, batteries and solar panels. The growing demand for copper, lithium and cobalt to attain renewable energy quotas worldwide by 2025, exacerbates the problem. This is part of a series of paintings entitled 'man vs nature'. You see that the colours impact upon one another and in some places, a colour overrides its neighbour.
Oil on Canvas
One-of-a-kind Artwork
39 W x 39 H x 0.7 D in
Not Framed
Yes
Ships in a Box
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United Kingdom.
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United Kingdom
Pauline was born in Birmingham and moved to London to study at St. Martin’s School of Art (now Central St Martin’s) after which she enjoyed an extensive career in the fashion industry, firstly as a designer and then as a buyer for an international fashion retail company. Upon moving to the Chiltern Hills (an area of outstanding natural beauty) she has rekindled her love of painting and now paints the natural world in an abstract manner. She says “like most people, I’m very perturbed by the destruction of eco systems around the world, especially by the use of dirty mining. Mining in environmentally sensitive areas of the planet has caused untold devastation to flora and fauna. The growing demand for copper which is used in wind turbines, batteries and solar panels, if not managed responsibly, has the potential for new adverse environmental and social impacts. The extended use of copper, lithium and cobalt to attain renewable energy quotas worldwide in 2050 exacerbates the problem”. My paintings focus on the destruction of flora and I have titled the works ‘Man v Nature’. You can often find copper, gold, silver and cobalt paint and inks in my paintings and often the flora is diminished or obliterated by colour and form from other areas of the composition. I very often forsake brushes and handle paint and inks which enables me to create movement on the canvas. I use several ways of mark making and build up my work in layers, often completely obscuring the layer beneath. I have often been known to sand back paint to achieve this. Although collectors may only see the visual aspects of colour, texture and form in my art, they are usually delighted to hear of the narrative behind it. I suppose that to this end my work is closely related to that of Kurt Jackson.
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