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Artist
Statement
Working from hundreds of photographic images and compositions, my artistic process begins with finding those few that resonate; stimulating an emotional response. Through paint on canvas and sometimes wood panel, I immerse myself in the subject as completely as possible, and, with very direct application of paint, work to capture the essence of my subject as it is filtered and interpreted through my emotional response.
Often
my choice of subject is quite standard, even provincial (cattle,
portraiture). Rather than dismiss them as prosaic, I view these subjects as
visual archetypes with direct links to subconscious. Both the cattle and my human portraiture subjects exude a particular quality of being to which I am repeatedly drawn. I have come to
value this revisited subject matter as a vehicle to
investigate and celebrate that which connects us. It is with
intention that I allude to these underlying beacons as ingress for
the viewer.
For
me, the painting process itself is an act not an activity. I paint in
long uninterrupted sessions where I am able to give complete
attention to creating a satisfying tension between what is seen;
realistic moments of light or detail, what is known; thoughtful
decisions based on knowledge of the effect of colour, texture, edge
and what is felt; visceral mark making inspired by the subject with
uncensored disregard for the above.
Ultimately,
no painting is complete without the viewer, and each is uniquely
completed by the individual viewing it. My intent is to compose
paintings which fascinate me, are fundamentally accessible, but also
leave room for the observer's singular consummation.
Cattle
Cattle,
or, more specifically, their ancestor, the auroch, were the subject
of our earliest art making activities. While they may have formed a
part of larger rituals and ceremonies, at their core, paleolithic
cave paintings represent a recognition and celebration of the animals
that were vital to our survival.
The cattle represent the essence of nourishment and
“nurturement”, and these paintings are a resumption of our
earliest instinct to celebrate them in pigment.
As
subjects, the cattle present a rich field of visual imagery; the
uterine form of the head, open wet nostrils and angelic crucifixtion
of the splayed ears. These compelling individuals bestow great
opportunity for projected state of mind; graceful aquiescence,
defeated fatalism and, more dramatically, have the power to evoke
that jolting moment when seer becomes seen and the subsequent
occasion for prolonged,contemplative, mutual consideration. I feel
privileged to have a subject that allows me to bring together, in a
satisfying way, detailed moments of realism and visceral mark making.
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