Gwyneth Baines

Naked, the landscape speaks of and for itself.

Through exploring the underlying frenetic activity, complex movement and
changes that have inhabited a landscape, I explore its evolution and
transformations as a living entity and witness to human activity. Although they
rarely include the human figure I consider landscapes to be human in their
formation and sensuality.

The human figure itself has similar qualities; tension and movement; order and
rules, including and revealing contrasts and idiosyncrasies.
Likewise, the portrait.

In my industrial drawings and paintings, I like to explore the complex functions
and pattern-forms of heavy apparatus and machinery.
I find myself fascinated by the contradictory qualities, from abrupt shifts between the bold immensity of furnaces, cooling towers and refineries to the fine, well-defined lines of diagrams.
The gigantic and the minute share a structural fluidity that informs my practice.

The finished work is an exploration of process and change as basic materials,
paint, charcoal, pastels – including the subject matter itself – is transmuted
through a responsive working and reworking of theme, figure and movement.
Changes are both fundamental and amplifying and very o...

Goldsmith's College, University of London