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In exhibition at Centro de Arte 'La Fuente', Mojacar, Spain. July 2016
Andalusia's extraordinarily varied climate and topography is
home to a spectacular variety of birdlife. It's geographical
location means that it is also a place where migratory
species are in constant passage from Africa to the north of
Europe and vice versa. It is thus a place of great global
importance and a measure of the health of many bird
species populations.
The works in this series are the result of both a lifelong
interest in the subject, the close study of historical
depictions and over ten years of acquaintance with the
region. The paintings place the birds of the area in the
locations and landscapes in which Finn has observed them
and they are infused with the light, the character and the
atmosphere of Andalusia and convey a true sense of place
and the birds place within it.
The tradition of depicting birds in art is of course as old as
visual culture itself chiefly because birds have always been
considered emblematic of the ephemeral and transitory
nature of life. It is for this reason that they continue to be the
object of a gentle obsession for many.
While this cycle of fourteen paintings seems prima facie a
straightforward, representational depiction of the bird and
plant species of Andalusia it is however the pretext for a
deeply considered inquiry into contemporary human
population movements and migrations, the underlying
drives and motivations for this, about both forced and
aspirational displacement, and about boundaries as a purely
human construct and those without a passport mere flotsam
and jetsam.
It is also an examination of humanity's conception of flight
itself and the privileges and possibilities afforded by our
ability to fly. By analogy and allegory the series considers
the ramifications engendered by man becoming avian-man
through a techno-evolutionary leap. By freeing ourselves
from gravity's grasp and by fulfilling this fundamental wish
we must now, as Stephen Hawking has said, 'assess man
on a cosmic scale'.
We have however lost the sense of awe in regard to the
ability to fly. It has become so commonplace so as to be
almost meaningless while at the same time the miracle of
flight has become forever tainted. The myriad hijackings,
crashes, disappearances and downing of planes mean that
flight itself as a means of escape has been forever
undermined and we have as evinced by 9/11 turned our
means of flight against ourselves. In the modern period man
became his own creator and consequently he has also
become his own destroyer. We have, all of us, become
Icarus.
work in progress, in situ

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'Welcome/Bienvenidos' Painting

Finn Campbell-Notman

Spain

Painting, Oil on Canvas

Size: 63 W x 67 H x 1.5 D in

Ships in a Crate

SOLD
Originally listed for $9,500

1042 Views

11

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ABOUT THE ARTWORK

Andalusia's extraordinarily varied climate and topography is home to a spectacular variety of birdlife. It's geographical location means that it is also a place where migratory species are in constant passage from Africa to the north of Europe and vice versa. It is thus a place of great global importance and a measure of the health of many bird species populations. The works in this series are the result of both a lifelong interest in the subject, the close study of historical depictions and over ten years of acquaintance with the region. The paintings place the birds of the area in the locations and landscapes in which Finn has observed them and they are infused with the light, the character and the atmosphere of Andalusia and convey a true sense of place and the birds place within it. The tradition of depicting birds in art is of course as old as visual culture itself chiefly because birds have always been considered emblematic of the ephemeral and transitory nature of life. It is for this reason that they continue to be the object of a gentle obsession for many. While this cycle of fourteen paintings seems prima facie a straightforward, representational depiction of the bird and plant species of Andalusia it is however the pretext for a deeply considered inquiry into contemporary human population movements and migrations, the underlying drives and motivations for this, about both forced and aspirational displacement, and about boundaries as a purely human construct and those without a passport mere flotsam and jetsam. It is also an examination of humanity's conception of flight itself and the privileges and possibilities afforded by our ability to fly. By analogy and allegory the series considers the ramifications engendered by man becoming avian-man through a techno-evolutionary leap. By freeing ourselves from gravity's grasp and by fulfilling this fundamental wish we must now, as Stephen Hawking has said, 'assess man on a cosmic scale'. We have however lost the sense of awe in regard to the ability to fly. It has become so commonplace so as to be almost meaningless while at the same time the miracle of flight has become forever tainted. The myriad hijackings, crashes, disappearances and downing of planes mean that flight itself as a means of escape has been forever undermined and we have as evinced by 9/11 turned our means of flight against ourselves. In the modern period man became his own creator and consequently he has also become his own destroyer. We have, all of us, become Icarus.

DETAILS AND DIMENSIONS
Painting:

Oil on Canvas

Original:

One-of-a-kind Artwork

Size:

63 W x 67 H x 1.5 D in

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Finn Campbell-Notman M.A. R.C.A British, London 1970, Finn grew up in rural England, principally Norfolk and Somerset. Over the years he has lived and worked in Cornwall, London, UK, San Francisco, USA, Brussels, Belgium and Andalusia and Barcelona, Spain. • An artist is essentially a lens through which the universe is refracted. Each lens however is unique. The ongoing aim is to make my particular lens as clear, focused, personal and distinctive as it can be. For me this means being continuously vigilant to life’s mutability, to have an open and receptive fragility in regard to this flux and from a position of attentive awareness and inquisitiveness attempt to communicate my experience of it through the work, thereby to arrive at some small amount of reciprocal wisdom about both myself and the world. The artwork as such is the result of that which has been projected by the universe through me and thus the imagery is an attempt to create both photographs - in the sense that my work focuses this ‘light’, and to create images in the sense that they are an expression of the distillation that happens within, sometimes over the course of extended periods of time. It is to be an instrument to record and express the tension and play between intra-mission and extra-mission, the meeting of the brush or pencil being the focal point. The artworks are thus microcosms, simultaneously process and practice. When I achieve this there is a stillness and poise, a subtle sense of the uncanny or perhaps, in Han’s Belting’s terms; the ‘aura’; a kind of calm vivacity to my work. My principal wish is always to improve my ability to communicate more eloquently through my work and for the work to speak with honesty and clarity. I think we respond to an artwork in a variety of ways but we especially respond to those that 'feel true' irrespective of whether they are representational or not. That response to 'trueness' or perhaps ’rightness’ I think derives from the tangibility felt by the viewer of the experience shown i.e what has been distilled within the work is transmitted and apparent to the receiver. Art is to me thus also an ethical/moral activity; the personal, socio-cultural, political and natural are inseparable and I try to reconcile all this within and through my work.

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