lundi 30 septembre 2019
mercredi 18 septembre 2019
all ink,oil and emulsion on paper.
These four drawings are from a series based upon observation, supported by monochrome photographs. They are very much about the marks. In fact I am often working very close to the support to concentrate upon making the marks and trying not to think about the source. It is only later that there can be a sense of recognition that yes, I did see something like this, I did photograph something like this though I don't remember when. It is all bound together.
samedi 31 août 2019
ploughing and tape. ink, emulsion on paper
field edge and tape. ink and oil on paper
field edge. oil on paper
beginning to plough. oil on paper
tracks. oil on paper
lines . oil on canvas
I think I know where these might lead. The tracks on the land and the tracks in the paint must come together before too long. The several crossings of a tractor on the hill marking the cut wheat and now the land being cut by the plough are making their own crossing places with the paint.
vendredi 9 août 2019
The hill that I pass regularly is undergoing change. Light operates upon the changed surface of the hill as reaping and the passage of a tractor takes place. The marks on the land are evidence of human activity and of time passing. My paintings track my memory of my passing too. I go out, I look at the hill, come back to where the hill is only in my mind, a separateness which feeds the image.
jeudi 27 juin 2019
mercredi 26 juin 2019
all oil on paper. 87x60cms
On my walks I pass a sloping field. I have been passing it for years and sometimes I have stopped to photograph it and more recently to make drawings of it. Often it has been noted and filed away in the back of my mind until the next time that some shift in weather and light calls my attention to it again.
Theses are simple paintings. They are made from memory. They are paintings that refer to the field but are not really about the field so much as about the direction my painting might take. The grid might make a comeback, the division of the surface might be less intuitive - the golden section comes to mind-
and other possibilities might arise. Sometimes it is necessary to return to basics.
jeudi 7 mars 2019
I admire the facility of portrait painters for instance, the skills learnt, the very look of it, the verisimilitude, the grace of image making. It seems worlds away from mine where I feel the thing must be forced into being against its will. Obstinacy is a part of it. The oily substance resists me and I must fight both it and myself until we both begin to bend and even then it can be sulky and obfuscatory. It is only a substance however, only oily mud. One must work it into something else.
When I have to stop, because I have stopped, the time spent on this will be what remains of me: something that says, I was here and engaged with this and every day was new.