Landscapes to Compositions: venturing into the paradox of unity amid constant flux.
Landscapes drawing from images taken in Thailand. I looked towards the early modernists for ways to express a sense of interconnection, always listening to music while painting to help generate a feeling of rhythm and movement in the works. The ‘dot-style’ from my earlier paintings on plasterboard seemed to naturally evolve into a style some have likened to Klimt and Van Gogh. I feel one of the best descriptions came from an artist friend in Thailand when she commented that my landscapes ‘Look like they are breathing.’ From here, I began developing my dual compositions.
Work developed as a result of my growing interest in an underlying connectedness, holding an affinity with Huxley’s view of ancient Chinese landscapes as metaphors for the ‘Antipodes of the mind.’ Research and influences include: Expressionism, colour theory, Jung, Richard Wilhelm, Rudolf Otto, Eastern philosophy, the Mandala, astrophysics, Rumi, Blake, drone ambient, Hubble telescope and walks through rural Devon.
I was an indie-kid in my teens and in later years I got more into the underground dance scene, mainly drum n bass, drone and dub techno. My work has always drawn inspiration from the DIY approach and I feel these paintings unleash an ever-present punk spirit into a world of increasing rules and homogeneous gentrification (not least in contemporary art). My landscapes and dual compositions marked the beginning of something through reconnecting with my roots and these later works, born out of my Cycle Diaries, are experiments representing a different approach towards exploring the paradox of unity amid constant flux.