VIEW IN MY ROOM
Remembering the desert at close to midnight Painting
United Kingdom
Painting, Oil on Canvas
Size: 48 W x 58.3 H x 1 D in
About The Artwork
The original painting is oil on canvas, it concluded a seven year series whereby I had allowed myself to paint whatever and however I wanted behind closed doors. Much of my work takes place outside, in public and has a site specific element and external reason. The studio based paintings were to develop my painting practice in it's own right, reclaiming it. Events, experiences, people and places I encountered during this time inevitably motivated some of the work. This landscape was influenced by some time spent Ourrzazate in Morocco in 2013 and I painted the memory throughout 2017. The piece went through many phases, with the ground shifting and changing through green meadows to seas - somehow representing the variety of places we can star gaze from. Eventually I scraped away the paint from the earth element and made the canvas smooth to start anew the following day. On return I found the mood of the painting now encompassed that of the memory and felt great relief, with a touch of ecstasy, when I realised that the painting was complete. I hope that viewers of this work can connect to the place and emotion on their own terms. We all live under the same sky, suffer joys, losses, breathe the same air and I found this place and the creation of this painting synonymous with many other landscapes, times and places. I let it hang in the studio for some months after creating it, people would come to sit and talk with me about their lives and the painting made a comfortable background for all of them. Something about the working through having reached a resolution supported this, with marks from the process remaining prominent and unhidden being essential to the resulting calm. I hope it will bring out a sense of acceptance, contemplation and peace to viewers, though equally valid would be to explore the use of material, with three dimensional smears of paint appearing to be in the background and scratches that go right through to the base layer appearing to be in the foreground. Traditional painting styles have been drawn from - as have contemporary methods. The linen was prepared with rabbit skin glue and painted with hand mixed oils, along with gold and silver leaf, spray paints, varnish, inks and action painting; the mixing and application of paint was at times very playful, videoed and shared on social media. The painting is available as hand finished prints, in a limited edition of 50.
Details & Dimensions
Painting:Oil on Canvas
Original:One-of-a-kind Artwork
Size:48 W x 58.3 H x 1 D in
Frame:Not Framed
Ready to Hang:No
Shipping & Returns
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United Kingdom
My art practice is rooted in painting, both studio based with archival properties and temporary in the great outdoors recorded photographically. The paintings, installations and artists books that I make are generated from life experience and particular locations, forming an external narrative that supports further research and works. Curiosity regarding how we interact with each other and the world, with an emphasis on double edges (violence, peace, greed, oneness) underpins my practice and has led to studies in trauma therapy, eco design, martial arts and rock climbing. These in turn fuel time spent in diverse urban and rural environments, which further inform my line of enquiry. During the making process I explore memory formation, using act of painting to embed felt and transient experiences, whilst experimenting with how concepts and observations can be conveyed. I attempt to portray environmental and psychological phenomenon in my artwork, such as a hurricane forming from the ocean edge, brocken spectre on a mountaintop, a fleeting sense of oneness in the city, acceptance stirred by the desert sky or a city park at dusk. Recalling the feeling of the elements when painting landscapes, to help capture and communicate something of the essence of these moments, can be replenishing and a form of action research. Painting with traditional materials has also proven valuable for processing and thinking through adversity, both on a personal level and for some of the communities that I have worked with. My paintings and photographs of temporary works bear witness to existence, akin to the function of a postcard or personal photo album; the format of which have changed dramatically with the growing role of digital media over the last two decades. Positioning my artwork across the spheres of photography, psychology and environment is not only theoretical but the work is often site specific for political and practical reasons. My temporary paintings have been made in quarries / landfill sites, parks, with Ibizan goats, Surrey sheep, the ocean, underpasses and an overpass, a farmer and a fire brigade. In recent years librarians have helped to share my studio based paintings and hand bound books.
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