Seer (Homage to Leonora ) Painting

The writer Mark Twain once remarked that "whisky is for drinking; water is for fighting over. While we in New Zealand are battling it out over declining water quality and intensive dairy farming's massive contribution to this and the vexed issue of Māori control, management and ownership of water rights, internationally, 780 million people lack access to safe drinking water. By 2030, 47 per cent of the world’s population will be living in areas of high water stress. A series of reports from intelligence agencies and research groups indicate the prospect of conflict is increasing as thirsty people, opportunistic politicians and powerful corporations’ battle for dwindling resources. Water too often is treated as a commodity, corporate giants profit by forcing developing countries to privatize their shrinking water supply. Investors target desalination and mass bulk water export schemes to turn a global catastrophe into a profit. Corrupt governments use water for economic and political gain, military control of water emerges, and a new geopolitical map and power structure forms, setting the stage for world water wars. All over the planet we are polluting, diverting, pumping, and wasting our limited supply of fresh water at an exponential level as population and technology grows, resulting in the desertification of the earth. This painting is informed by the books “Blue Gold: The Fight to Stop the Corporate Theft of the World’s Water” by Maude Barlow and Tony Clarke. Ecologist Geoff Park’s collection of essays “Theatre Country Essays on Landscape and whenua”, And Andri Snær Magnason's documentary “Dreamland: a Self-help Manual for a Frightened Nation”, predictions of privatisation and industrialisation of the wilderness.19thc Romantic landscape painters , the colonial artists Petrus Van der Velden, Wilhelm Geisler,and Charles Blomfield .Also of major influence was the surrealist artist Leonora Carrington. The title Seer might refer to the lone iconic figure. In many ancient and indigenous traditions, the antlers are a symbol of spiritual authority because they grow above the physical head, reaching towards the realm of spirit. They signify regeneration, because they die and grow back, bigger than before. They are worn by Cernunnos, the ancient Celtic Master of the Animals, by Mongol women shamans, and by the rotiyaner or “men of good minds”, the traditional chiefs of the Six Nations of the Longhouse, or Iroquois. Visually, deer antlers suggest the shape of the World Tree that shamans climb .The punning title referencing Sear v. To char, scorch, or burn the surface, to cause to dry up and wither .n. The catch in a gunlock that keeps the hammer cocked.

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:40 W x 30 H x 1.5 D in

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